Henri le Sidaner
- Henri Le Sidaner
- LE DÉJEUNER
signed Le Sidaner (lower left)
- oil on canvas
- 126 by 151cm., 49 5/8 by 59 1/2 in.
Dr Mollard, France
Walter Chrysler Jr., USA
Galleries Maurice Steinberg, Chicago
François Daulte, Paris
Paris, Galeries Georges Petit, Exposition Le Sidaner, 1925, no. 2, illustrated in the catalogue
New York, Acquavella Galleries, Henri Le Sidaner 1862-1939, 1962
Chicago, Galleries Maurice Steinberg, Maîtres des 19e et 20e Siècles, 1976, no. 20, illustrated in the catalogue
Chicago, Galleries Maurice Steinberg, Paris. France and the European Scene, 1985, no. 1, illustrated in the catalogue
Paris, Musée Marmottan, Henri Le Sidaner 1862-1939, 1989, no. 24, illustrated in colour in the catalogue
Yann Farinaux-Le Sidaner, Le Sidaner, L'œuvre peint et gravé, Milan, 1989, no. 371, illustrated in colour p. 151
Josette Galiègue, Henri Le Sidaner en son jardin de Gerberoy (exhibition catalogue), Oise, 2001, illustrated in colour p. 23
Le Sidaner visited Gerberoy for the first time in March 1901 and he moved into rented accommodation in June of that year. He started painting there almost immediately and exhibited the works in the 1902 Salon to critical acclaim. He bought the property depicted in the present work in 1904 and carried out extensive renovations of the buildings and gardens. 'Once the acquisition was made in 1904, construction naturally began with the studio. This was built in a former barn, while the house was decorated with an awning and a bow window. The 'white garden' was the first to be laid out, containing a lawn and straight avenues, but devoid of any real symmetry, just like the house itself' (R. le Sidaner, quoted in Y. Farinaux-Le Sidaner, op. cit., p. 31).
This sun-drenched scène de table is the crowning achievement of the numerous variations executed during the 1910s. The intimacy summed up by his trellises and the beauty of the flowers against the mellow sun-kissed stone of the house epitomises Le Sidaner's talent of creating subtle, serene and intimate scenes. 'His œuvre displays a taste for tender, soft and silent atmospheres. Gradually, he even went so far as to eliminate all human presence from his pictures, as if he feared that the slightest human form might disturb their muffled silence' (Y. Farinaux-Le Sidaner, op. cit., p. 31). Instead of figures, Le Sidaner focused on the architectural and domestic environments as well as the accoutrements man creates for himself. 'He considered that the silent harmony of things is enough to evoke the presence of those who live among them. Indeed, such presences are felt throughout his works. Deserted they may be but never empty' (C. Mauclair, op. cit., p. 12).
Henri Le Sidaner at Gerberoy