Théo van Rysselberghe

Denise Maréchal, Brussels (the artist’s niece, later Mme Georges Béart, Rixensart)
M & Mme R. Counard-Cuypers, Rixensart (a gift from the above)
A gift from the above to the present owner

Brussels, Galerie Giroux, Rétrospective Théo van Rysselberghe, 1927, no. 17
Brussels, Palais des Beaux-Arts & The Netherlands, Gemeentemuseum de La Haye, Théo van Rysselberghe, 2006, n.n., illustrated in colour in the catalogue

Gustave van Zype, 'Théo van Rysselberghe' in Annuaire de l'Académie Royale de Belgique, Brussels, 1932
François Maret, Théo van Rysselberghe, Anvers, 1948
Guy Pogu, Théo van Rysselberghe, Sa vie, Paris, 1963
Giulia Veronesi, 'Neo-impressionisti Paul Signac e Théo van Rysselberghe' in Emporium, March 1964, n.n., illustrated p. 103
Ronald Feltkamp, Théo van Rysselberghe, Catalogue raisonné, Brussels, 2003, no. 1894-011, illustrated p. 305

The board is stable. UV examination reveals a vertical line of retouching to the sitter's cheek (approx. 4cm. long) and a few further smaller lines and spots of retouching in places. This work is in overall 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’s early portrait of his niece Denise Maréchal, is a beautifully nuanced example of his mastery of the pointillist technique. It was in 1886, during a trip to Paris with the poet Emile Verhaeren, that the artist made the acquaintance of Seurat and Signac.  Returning to Belgium and determined to introduce the new Divisionist style to the Belgian art world, Van Rysselberghe helped found Les XX, quickly becoming one of the chief proponents of the Divisionist movement in Belgium.

Throughout his career Van Rysselberghe specialised in portraiture.  He took pleasure in painting his loved ones, his friends and notably his wife, and early on gained a celebrated reputation as a portraitist.  He used this to his advantage in order to experiment with Divisionist theory.  As Ronald Feltkamp points out, Van Rysselberghe is ‘one of the few artists who dared using 'little dots' in a portrait’ (Ronald Feltkamp, Théo Van Rysselberghe, Catalogue raisonné, Bruxelles, 2003, p. 51).  The present work was further exhibited in the Rétrospective Théo van Rysselberghe in 1927 at the Galerie Giroux in Brussels.