Adrien Jean Le Mayeur de Merprès

The work is in good condition overall, as is the canvas, which is clear and sound. Upon close observation, there is evidence of light wear and handling around the edges of the painting, along with networks of faint craquelures on the lower left petal (underneath the feet of the leftmost weaver), on the middle of the top margin (white impasto), and on the headdress of the middle weaver. Impastos are healthy and stable. Any inconsistency is due to the artist's working method. Examination under ultraviolet light reveals no sign of restoration. Framed with the artist's original frame.
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Throughout history, with the emergence of cartography and modern advancements in travel, Southeast Asia has featured prominently in the stories brought back from explorers. It was during the early twentieth century, however, that saw a rise in foreigners relocating to the region, enamored by the lush topography and vibrant cultures that welcomed them there. Belgian artist Adrien-Jean Le Mayeur de Merpres was one such individual who sought a new future in distant lands.

Initially inspired by Paul Gauguin whose portrayals of French Polynesia and Tahiti fueled his nomadic nature, Le Mayeur discovered those places no longer held the same allure found in works like Tea a no areois (The Seed of Areoi) (Fig. 1). It was not until the 1930s when he visited Bali, that Le Mayeur found a world that had only existed in his dreams.

The present painting Three Weavers in the Garden perfectly exemplifies the Belgian artist’s oeuvre, for it is a celebration of his two favorite motifs: the natural landscape and womanhood. His style is distinctly impressionist, a layering of thick brushstrokes upon the canvas to capture the visual richness of the island’s inhabitants, and flora and fauna. Within this work it is the foliage that frames the women, the orange and red flowers casting a warm glow upon their faces and bodies. Subsequently, their sienna-colored sarongs and head wraps further serve to emphasize the red tones within the environment, and is a complimentary balance to the greens and yellows scattered throughout the background. It is a scene of mutual rapport and respect.

Within his oeuvre, Le Mayeur’s depiction of femininity was influenced by his deep love for his wife Ni Pollok, the Legong dancer who is immortalized in every painting. Throughout his career she was the sole constant, her presence and charm governing all the narratives. Within the artworks, Balinese Women in the Garden (Fig. 2), and Balinese Maidens (Fig. 3), Ni Pollok is the woman who is the center of attention, her face always the most clearly defined. In the present piece she is the one who is standing, her green head wrap elevating her from the other women in the scene.  

A classically trained painter, it is no surprise that within Le Mayeur’s repertoire of themes and styles, his compositional layout is reminiscent of past European masters. It may be said that Sandro Botticelli inspired the trinity of womanhood, as seen in his famed work Primavera (Allegory of Spring) (Fig. 4 and Fig. 5), where the three graces dance together in harmony, and subsequently established in art history the visual appreciation of showing women in groups of two or more. Le Mayeur’s oeuvre rarely shows women alone, with many of his paintings depicting them in groups, and oftentimes no more than five together. Three Weavers in the Garden and Balinese Women in the Garden share a similar composition, with three women shown together, their movements accentuating the landscape’s natural décor.

Together with traditional dance, Le Mayeur’s paintings also featured women in other local pastimes. As the title suggests, the present piece portrays women gathered together over a loom. This decision to feature women in activity is akin with Edgar Degas’ artworks that featured dancers caught up in the throes of their art form. Similar with Blue Dancers (Fig. 6), the present painting is a celebration of women unified in their shared actions, their bodies intent on their craft, and unaware of the observing eye of the viewer.

Infatuated by what he deemed to be beautiful, Le Mayeur sought to communicate this aesthetic within the paintings. The artist’s collection of works is ultimately a symphony of colors, enhanced by the splendor of the tropical wilderness, and his natural respect for Bali and the island’s inhabitants. All of which was brought to life on the canvas.