Théo van Rysselberghe

Richard Green, London
Sale: Phillips, London, 27th June 2000, lot 17
Private Collection, Brussels (sale: Sotheby's, New York, 9th May 2007, lot 210)
Purchased at the above sale by the present owner

Théo van Rysselberghe, letter to F. Viélé-Griffin, 5th October 1899, Bibliothéque Royale Albert Ier, Cabinet des Estampes, Brussels
Ronald Feltkamp, Théo van Rysselberghe, 1882-1926, Catalogue raisonné, Paris, 2003, no. 1899-023, illustrated p. 324

The canvas is not lined and there do not appear to be any signs of retouching visible under UV light. This work is in overall very good condition.
"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."

Théo van Rysselberghe initially worked in the Impressionist manner until 1886 where he discovered the pointillist technique after seeing George Seurat’s work Un dimanche à la Grande Jatte, at the eighth Impressionist exhibition in Paris. The artist immediately began to absorb this technique and soon became recognised within the Neo-impressionist movement in Paris, alongside artists like George Seurat, Paul Signac and Henri-Edmond Cross.

Van Rysselberghe, alongside Georges Lemmen, was one of the few artists to apply the pointillist technique to portraiture. Margery is executed with a masterful skill which reinforces the artist’s position at the forefront of the Neo-impressionist movement. This work is a fantastic cohesion of old and new. The long established traditions of portraiture are recognised and celebrated through the elegant portrayal of a serious young sitter, painted hands clasped on her lap. However, the manner in which the composition is rendered is extremely ground-breaking. The young girl is depicted against a rich background of green, orange, brown and red hues, executed with diligent, tight brushwork. The colours of the sitter’s dress make her at once immersed in the background and distinctly separate, through van Rysselberghe’s exquisite use of palette and technical prowess. The artist’s unquestionable skill is also revealed in the remarkable figurative rendering of the young girl’s face, a feat few could achieve with the pointillist technique. The porcelain skin of the model radiates from the work, executed with small, meticulous brushstrokes, creating a tight image that pushes the figure to the foreground of the composition. Shadows and tones are illustrated with an incredible attention to detail and contrasts between tiny areas of colour give extra vibrancy to the sitter’s features and clothing.