Henri Martin

Galerie Chappe-Lautier, Toulouse
Sale: Christie's, London, 22nd June 2005, lot 167
Purchased at the above sale by the present owner

Pittsburgh, Carnegie Institute, International Exhibition, 1914, no. 202

The canvas is not lined. UV examination reveals some intermittent retouchings along the extreme lower edge. There is a tiny paint loss to the left part of the sky and one towards the lower right corner. Otherwise this work is in overall good condition. Colours: fairly accurate in the printed catalogue, though the mauve tones are slightly more prominent in the original.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In 1900, Martin bought a property in Labastide-du-Vert, a small village near Cahors in the South West of France. On the thirty acres of land stood a large seventeenth century house named Marquayrol. Martin became extremely attached to this property and the surrounding landscape, and his relocation marked the turning point after which he abandoned allegory and myth to fully devote himself to the representation of nature. It was here that the artist felt most at ease and it is therefore not surprising the landscape inspired many of his most noteworthy compositions. The present work represents a subject Martin returned to on a number of occasions, the view from his house overlooking the valley of Labastide-du-Vert. The harmonious interaction of manmade habitations and their natural environment are typical of the sense of peace and contentment that Martin brought to his art. Typically, the landscape is devoid of human incident, and the long shadows thrown by the trees suggesting either early morning or late evening. The broken brushwork dissolves the forms of the landscape, emulating the effect of a softening light; indeed, Martin attributed his Divisionist technique to the study of nature: 'My preoccupation with rendering atmospheric effects increased later, after three months in the country, face to face with nature. The natural light, now brilliant, then diffuse, which softened the contours of figures and landscape, powerfully obliging me to translate it any way I could, but other than by using a loaded brush – through pointillé and the breaking up of tone' (quoted in Henri Martin (exhibition catalogue), Musée Henri Martin, Cahors, 1992, p. 89).

As Jacques Martin-Ferrières notes, ‘Henri Martin was without contest an Impressionist and one who had the deepest sensitiveness, certainly equal to that of Monet, whom he most admired.  Their interpretation of nature is certainly, owing to their utmost sensitiveness and not through research of a technical process, a poetical evocation hued by a thousand colours which can undoubtedly be called a work of art’ (J. Martin-Ferrières, Henri Martin, Paris, 1967, p. 35). The sparkling valley of the present work highlights this approach, resulting in a setting that is as unobtrusive as it is harmonious and fluid. The tranquility of the central nestled settlement complements the rhythmic play of colour, light and shadow across the canvas.  The interior tonal and linear structures of the picture derive from the wending country roads that circumscribe vibrant swaths of complementary colour. Ferrières continues, ‘If I look at a fragment of Henri Martin's canvas... I immediately recognize it.  I see a great number of dots of different colors, as precious and rare as precious stones.  His palette is an enchantment.  Many different interminglings of colors make a rare and rich harmony...  And it is much more difficult to find a good harmony of colors when representing nature than to assemble some nice colors, representing nothing.  In here lies the gift of Impressionists and that is why there are so few’ (J. Martin-Ferrières, ibid., p. 42).