Adrien Jean Le Mayeur de Merprès

Acquired directly from the artist.

The work is in good condition overall, as is the canvas, which is clear and taut. There are indications of wear and handling around the margins but paint layers are well-preserved and in stable condition. Under ultraviolet light inspection, restoration was found on the floor (lower middle register). Framed.
"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."

Adrien-Jean Le Mayeur de Merprès is a seminal figure in the history of modern art in Bali, a foreigner whose impressionist paintings inspired generations of artists, and travellers, to discover the source of his creative vision. It was a devotion to beauty, and the representation of beauty, that defined the Belgian artist’s personal aesthetics, and artistic philosophy.

Influenced by Gaugin’s iconic paintings of Tahiti and French Polynesia, Le Mayeur pursued the exotic in his artwork, traveling abroad in search of “the other” to act as his muse. It was the artist’s trip to Bali in 1932, at 52 years of age, which established his relationship with the island and her people. He continued to paint the culture and local inhabitants until his death 26 years later.

Within the Temple Gates perfectly embodies his portrayal of Balinese women, a highly celebrated motif in the artist’s oeuvre. The women sitting together in the shade, their legs crossed gracefully underneath their sarongs, are perhaps reminiscent of the Three Graces who were revered for their beauty, charm and dynamic energy.  As one of them looks away into the luminous background, the other two females are turned intimately towards each other, as if to share a secret that only they may hear. It is a distinctly private moment, and yet, Le Mayeur entices the viewer to share the women’s quiet interaction.

The artist found his true muse in Ni Wayan Pollok Tjoeglik (also known as Ni Pollok), a Legong dancer who became his model, and later his wife. In the painting Within the Temple Gates, she is exists in the woman seated nearby the folded parasol, her attention on her companion, oblivious to the world around her. Her body is shifted in the direction of the viewer, though she chooses to look elsewhere, a sheer provocation in itself.

Inspired by the rich textures that the island had to offer, Le Mayeur sought to capture this through the use of colors, and the presence of light within the works. He painted with short, energetic brushstrokes that are visible in the thick application of colors on the canvas.

The present work aptly demonstrates this style, especially in the pictorial representation of nature. The red hibiscus flowers adorning the women’s hair are punctuated by the expressive brushstrokes, as are the flowers on the trees, complimenting the foreground with a vibrant array of pink and purple blossoms.