{"title":"10.26 Pointillism","description":null,"products":[{"product_id":"almond-trees-in-spring-by-achille-lauge","title":"Almond Trees in Spring by Achille Laugé","description":"Achille Laugé\u003cbr\u003e 1861-1944 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAlmond Trees in Spring\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"A. Laugé\" (lower right)\u003cbr\u003e Oil on canvas  \u003cbr\u003e\u003cbr\u003e This Neo-Impressionist landscape by the French artist Achille Laugé captures an orchard in late spring in his celebrated, highly modern style. The work displays a thick impasto thanks to the artist's distinctive technique of applying his paint in quick dabs, a characteristic of his later works. One of the foremost painters of the Post-Impressionist period, Laugé’s works are beloved for his sensitivity to light, shade and tone, and his mastery of medium is clearly on display in \u003cem\u003eAlmond Trees in Spring\u003c\/em\u003e. The light blue of the sky and the more muted colors of the field, along with the cottony white and pink tones of the blossoming trees create a scenic and calm composition. \u003cbr\u003e\u003cbr\u003e Born in 1861 to wealthy farmers, he moved to Toulouse at the age of 17 to study pharmacy. At this time, he also enrolled part-time at the school of the Beaux-Arts, where he befriended the artist Bourdelle. Three years later, he moved to Paris, where he studied under the famous masters Alexandre Cabanel and Aristide Maillol, making his debut at the \u003cem\u003eSalon\u003c\/em\u003e in 1884. Like many other artists of his generation, Laugé eventually rejected the conservative ideals of this teacher, falling under the Post-Impressionist influence of Georges Seurat. By 1888, his landscapes became assiduous experiments in complementary colors and light on canvas. He exhibited three paintings at the \u003cem\u003e Salon des Indépendants\u003c\/em\u003e in 1894, as well as with the Nabis that same year. In addition, Laugé held several one-man shows in Paris, Toulouse and Perpignan from 1907 to 1930. \u003cbr\u003e\u003cbr\u003e It was after his departure from Paris that Laugé developed his divisionist technique, following the lead of Seurat and the Pointillists. Although Laugé never adopted Seurat’s scientific attitude, his interest in the primacy and division of color resulted in work with a vivid, translucent palette. From 1888 until about 1896, Laugé composed his pictures with small points of color. At the end of the century, he abandoned the dots and dabs and painted his landscapes, portraits and still-lives with thin, systematically placed strokes resembling crosshatching. After 1905, he applied his pigments more freely, with enlarged strokes and thick impasto that brought him closer to a traditional impressionist technique whilst maintaining his ability to paint the translucence of southern light. Today, his exceptional works can be found in museums throughout France, including the Musée D'Orsay in Paris. \u003cbr\u003e\u003cbr\u003e Canvas: 21\" high x 28 1\/2\" wide\u003cbr\u003e Frame: 32 3\/4\" high x 40\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galleris Maurice Sternberg, Chicago\u003cbr\u003e Private collection, Texas, 1975\u003cbr\u003e Private collection, Broadway, UK\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41238532915335,"sku":"31-3146","price":228500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3146_1.png?v=1792156755"},{"product_id":"les-roses-dispahan-by-lucien-levy-dhurmer","title":"Les roses d'Ispahan by Lucien Lévy-Dhurmer","description":"Lucien Lévy-Dhurmer\u003cbr\u003e 1865-1953 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLes roses d’Ispahan\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Lévy Dhurmer\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e French painter Lucien Lévy-Dhurmer was one of the leading artists of the Symbolist and Art Nouveau movements at the turn of the century. This stunning oil on canvas is imbued with a misty, hazy romanticism that characterizes many of his landscapes and portraits, and it is an exceptional example of Lévy-Dhurmer’s ability to transport the viewer into an imaginary journey of the senses. \u003cbr\u003e\u003cbr\u003e Partly obscured by a rose bush, the Persian city of Isfahan, in present-day Iran, forms the expansive vista. The painting's title is taken from the poem by Charles Leconte de Lisle, which was famously set to music by Gabriel Fauré in 1884. Lévy-Dhurmer's incredible brushwork and mastery of color bring the vista to life with thousands of feathery strokes, perfectly evoking the allure and mystery of this legendary city. \u003cbr\u003e\u003cbr\u003e Born in French Algeria in 1865, Lucien Lévy-Dhurmer studied drawing and sculpture in Paris as a child and began his artistic career as a decorative painter at a porcelain manufactory in Golfe-Juan. Throughout his long career, Lévy-Dhurmer experimented with different artistic styles and mediums, succeeding as a ceramicist, painter, pastelist and furniture designer. Perhaps his most celebrated work, the famed Wisteria Dining Room, which is now held in the Metropolitan Museum of Art, is a brilliant example of the artist’s remarkable range of skills in various media. \u003cbr\u003e\u003cbr\u003e His trip to Italy in 1895 would change the course of his life and interests. It was there that he discovered an interest in German and Florentine Renaissance—resulting in paintings that fit in nicely alongside those of the English Pre-Raphaelites. That same year, Lévy-Dhurmer officially began his painting career. In 1896, he held his first solo exhibition at the Galerie Georges Petit in Paris, where he appeared for the first time under the name Lévy-Dhurmer, adding to his surname Lévy part of his mother’s maiden name, Pauline-Amelie Goldhurmer. \u003cbr\u003e\u003cbr\u003e His unique blend of Academic detail with Impressionist color and technique garnered the artist considerable attention. He was drawn to the ideals of the Symbolist movement, which offered an intellectual alternative to the purely visual pursuits of the Impressionists. After 1900, Lévy-Dhurmer’s work explored the emotional and lyrical possibilities of landscape and atmosphere. Similar landscapes by Lévy-Dhurmer from this period reside in the Denver Art Museum and the Musée d’Orsay in Paris. \u003cbr\u003e\u003cbr\u003e Circa 1910 \u003cbr\u003e\u003cbr\u003e Canvas: 23 3\/4\" high x 32\" wide (60.33 x 81.28 cm)\u003cbr\u003e Frame: 30\" high x 38 1\/8\" wide x 2\" deep (76.20 x 96.84 x 5.08 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, London\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private collection, California\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44422079479943,"sku":"31-4730","price":228500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4730_1_544fb0d5-bcda-4765-9888-9062b04032a5.png?v=1775582534"},{"product_id":"the-garden-near-cailhau-by-achille-lauge","title":"The Garden Near Cailhau by Achille Laugé","description":"Achille Laugé\u003cbr\u003e 1861-1944 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Garden Near Cailhau\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"A. Laugé 96\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e “Laugé’s art is one of great sensitivity and controlled reason; he is a master of light.” — Antoine Bourdelle, French Artist, Esteemed Peer, June 1927 \u003cbr\u003e\u003cbr\u003e This incredible work by Achille Laugé entitled \u003cem\u003eThe Garden Near Cailhau\u003c\/em\u003e showcases the masterful artist at his very best. During his lifetime, Achille Laugé was celebrated by his peers and the public alike for producing dazzling works with subtly divided southern light, pure tones and rigorous geometry. His reputation continued to grow after his death, and today the art market recognizes him as a master of Neo-Impressionism. Though his command of the pointillist and divisionist styles often draws comparison to his Neo-Impressionist peers like Seurat and Signac, Laugé approached the style with his own unique sensibility. Laugé‘s oeuvre showcases his taste for monumental, static art emphasizing rhythm, line and purity. More personally, Laugé was deeply inspired by his hometown's natural beauty and familiarity. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Garden Near Cailhau\u003c\/em\u003e depicts a quintessential scene from the artist — a touching tribute to his beloved home. Featuring a road flanked by trees and bathed in sunlight, the flowering trees that line the path merge with the pointillist dots to create a stunning visual effect. The tree-lined path recedes into the distance towards the commune of Cailhau on top of a hill. The composition masterfully combines all the principles of divisionism while staying true to Laugé’s roots. Marked by a luminous color palette and a robust paint application that causes the scene to emerge in three dimensions, it is among the finest of Laugé’s output, and the canvas remains in its original unlined state in perfect condition. \u003cbr\u003e\u003cbr\u003e The son of a farmer, Achille Laugé initially opted for a career as a pharmacist before giving up his studies to enroll at the Toulouse School of Fine Arts in 1876. During his apprenticeship, he met Antoine Bourdelle, Henri Martin and Henri Marre, who encouraged him to go to Paris in 1882 to study at the École des Beaux-Arts. It was in Paris in the early 1890s that Laugé discovered the paintings of Seurat and Signac. \u003cbr\u003e\u003cbr\u003e He was encouraged by Bourdelle, who told him, \"You bring a very personal vision, a great deal of serene logic and a beautiful gift of unity in the love of the luminous air that reigns even in your shadows\" — very high praise from a peer! After his sojourn to Paris, Laugé returned to his childhood home of Cailhau near Carcassonne in the Aude, establishing himself permanently in somewhat relative isolation and only exhibiting on the rare occasion at the Salon des Indépendants in Paris. It was within this strategic isolation that the artist refined his point of view and honed his individual stylistic language. \u003cbr\u003e\u003cbr\u003e Born in 1861 to wealthy farmers, he moved to Toulouse at the age of 17 to study pharmacy. At this time, he also enrolled part-time at the school of the Beaux-Arts, where he befriended the artist Bourdelle. Three years later, he moved to Paris, where he studied under the famous masters Alexandre Cabanel and Aristide Maillol, making his debut at the Salon in 1884. Like many other artists of his generation, Laugé eventually rejected the conservative ideals of this teacher, falling under the Post-Impressionist influence of Georges Seurat. By 1888, his landscapes became assiduous experiments in complementary colors and light on canvas. He exhibited three paintings at the \u003cem\u003e Salon des Indépendants\u003c\/em\u003e in 1894, as well as with the Nabis that same year. In addition, Laugé held several one-man shows in Paris, Toulouse and Perpignan from 1907 to 1930. \u003cbr\u003e\u003cbr\u003e It was after his departure from Paris that Laugé developed his divisionist technique, following the lead of Seurat and the Pointillists. Although Laugé never adopted Seurat’s scientific attitude, his interest in the primacy and division of color resulted in work with a vivid, translucent palette. From 1888 until about 1896, Laugé composed his pictures with small points of color. At the end of the century, he abandoned the dots and dabs and painted his landscapes, portraits and still-lifes with thin, systematically placed strokes resembling crosshatching. After 1905, he applied his pigments more freely, with enlarged strokes and thick impasto that brought him closer to a traditional impressionist technique whilst maintaining his ability to paint the effect of southern light. Today, his exceptional works can be found at the Museum of Fine Arts, Houston and museums throughout France, including the Musée d'Orsay in Paris. \u003cbr\u003e\u003cbr\u003e Dated 1896 \u003cbr\u003e\u003cbr\u003e Canvas: 25 1\/2\" high x 32\" wide (64.77 x 81.28 cm)\u003cbr\u003e Frame: 31 1\/2\" high x 37 7\/8\" wide (80.01 cm x 96.2 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-8276.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This painting was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Acquired directly from the artist\u003cbr\u003e Private Collection\u003cbr\u003e Private Collection, Paris\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050699157639,"sku":"31-8276","price":985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8276_1_28ffce1f-2ff2-4401-bf28-bf8a607cb00a.png?v=1774965906"},{"product_id":"saint-jean-pied-de-port-by-yvonne-canu","title":"Saint-Jean-Pied-de-Port by Yvonne Canu","description":"Yvonne Canu\u003cbr\u003e 1921-2008 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSaint-Jean-Pied-de-Port\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Canu\" (lower right)\u003cbr\u003e Signed and titled \"Saint-Jean-Pied-de-Port\" (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A luminous testament to the enduring power of Neo-Impressionist technique, \u003cem\u003eSaint-Jean-Pied-de-Port \u003c\/em\u003e demonstrates Yvonne Canu's masterful command of Pointillism. This vibrant waterside scene captures the tranquil energy of a quaint French canal, rendered through thousands of meticulously applied dots of pure pigment that coalesce into a harmonious celebration of light. \u003cbr\u003e\u003cbr\u003e Previously the capital of the Basque Region, the town of Saint-Jean-Pied-de-Port's stone bridge, depicted brilliantly in Canu's signature style, is one of the most iconic views of the town and serves as the starting point for pilgrims embarking on the \u003cem\u003eCamino Francés\u003c\/em\u003e. The composition reveals Canu's sophisticated approach, with vibrant oranges and yellows perfectly complementing the rich blues that dance across the sky and water. \u003cbr\u003e\u003cbr\u003e Born in Morocco in 1921, Yvonne Canu traveled to Paris to study at the reputable École des Arts Décoratifs. She entered the circle of the French-Japanese painter Tsuguharu Foujita and the Impressionist Élisée Maclet, both of whom profoundly influenced the development of her style. She experimented with not only the Impressionist style but also Cubism early in her career. However, it would be the great Georges Seurat who had the most impact on her artistic aesthetic. Inspired by the artist's masterpiece \u003cem\u003eA Sunday Afternoon on the Island of Grande Jatte\u003c\/em\u003e, Canu adopted Divisionism with the pointillist technique and made the style her own. \u003cbr\u003e\u003cbr\u003e 20th century \u003cbr\u003e\u003cbr\u003e Canvas: 13\" high x 16 3\/4\" wide (33 x 42.6 cm)\u003cbr\u003e Frame: 21 1\/2\" high x 25\" wide x 2\" deep (54.6 x 63.5 x 5.1 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44855091822727,"sku":"32-2458","price":46500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2458_1.png?v=1794331249"},{"product_id":"collioure-by-yvonne-canu","title":"Collioure by Yvonne Canu","description":"Yvonne Canu\u003cbr\u003e 1921-2008 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eCollioure\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Canu\" (lower right)\u003cbr\u003e Signed and titled \"Collioure\" (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The port of the southern French town of Collioure shines in this vibrant oil on canvas by Yvonne Canu. The revered artist's masterful command of Pointillism is on full display, with precise dots of pure color brilliantly coalescing to form a stunning work of art. \u003cbr\u003e\u003cbr\u003e The commune of Collioure was a favorite of many Post-Impressionists, and notably served as the birthplace of Fauvism during Henri Matisse and Andre Derain’s 1905 sojourn there. This composition, depicting the town’s iconic Notre-Dame-des-Anges, reveals Canu's sophisticated approach, with vibrant oranges and yellows perfectly complementing the rich blues that dance across the sky and water. Canu's use of meticulous points of pigment and vivid hues results in this breathtaking scene full of vitality and light. \u003cbr\u003e\u003cbr\u003e Born in Morocco in 1921, Yvonne Canu traveled to Paris to study at the reputable École des Arts Décoratifs. She entered the circle of the French-Japanese painter Tsuguharu Foujita and the Impressionist Élisée Maclet, both of whom profoundly influenced the development of her style. She experimented with not only the Impressionist style but also Cubism early in her career. However, it would be the great Georges Seurat who had the most impact on her artistic aesthetic. Inspired by the artist's masterpiece \u003cem\u003eA Sunday Afternoon on the Island of Grande Jatte\u003c\/em\u003e, Canu adopted Divisionism with the pointillist technique and made the style her own. \u003cbr\u003e\u003cbr\u003e Late 20th century \u003cbr\u003e\u003cbr\u003e Canvas: 19\" high x 23 3\/4\" wide (48.3 x 60.3 cm)\u003cbr\u003e Frame: 26 3\/4\" high x 30 3\/4\" wide x 2\" deep (68 x 78.1 x 5.1 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44932437999751,"sku":"32-2729","price":48500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2729_1.png?v=1794331270"},{"product_id":"pilote-de-la-meuse-by-paul-signac","title":"Pilote de la Meuse by Paul Signac","description":"Paul Signac\u003cbr\u003e 1863–1935 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePilote de la Meuse\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"P Signac 1924\" (lower right) Oil on canvas \u003cbr\u003e\u003cbr\u003e Paul Signac stands among the great visionaries of modern art, celebrated as one of the pioneering forces behind Neo-Impressionism. Together with Georges Seurat, he revolutionized painting through a more deliberate and radiant science of color, replacing the spontaneity of Impressionism with a meticulous technique that allowed light and atmosphere to shimmer across the canvas. In \u003cem\u003ePilote de la Meuse\u003c\/em\u003e, painted in 1924, Signac brings this groundbreaking vision to one of his most beloved subjects: the waterways and wind-filled sails that inspired him throughout his life. \u003cbr\u003e\u003cbr\u003e Created during Signac’s mature period, this painting reveals an artist at the height of his expressive powers. By the 1920s, his handling of color had become more vibrant, confident and decorative than ever before. Here, his signature mosaic-like brushwork is united with brilliant jewel tones, transforming a quiet river scene into something radiant and alive. The water flickers with movement, the sails seem to catch the air and the entire composition pulses with the sensation of light in motion. \u003cbr\u003e\u003cbr\u003e The subject also reflects one of Signac’s greatest personal passions. A devoted sailor, he owned 32 boats over the course of his lifetime, and the rivers, harbors and open waters of France became central to his artistic vision. Rather than simply recording a view of the Meuse, Signac transforms the river into a dazzling symphony of color, rhythm and atmosphere. Every carefully placed stroke contributes to the harmony of the whole, revealing his extraordinary ability to balance structure with sensation. \u003cbr\u003e\u003cbr\u003e Further distinguished by exceptional provenance, \u003cem\u003ePilote de la Meuse\u003c\/em\u003e remarkably retains rare archival materials relating to its earliest sale, including the original 1924 invoice from Galerie Léon Marseille as well as correspondence between its first owner, Edmond Sussfeld, and Signac himself. These documents offer an extraordinary connection to the painting’s earliest history and deepen the significance of an already rare work. \u003cbr\u003e\u003cbr\u003e Masterwork oils by Signac are exceedingly rare on the market, as many already reside in the world’s most prestigious museums, including the Musée d’Orsay, the Metropolitan Museum of Art and the Minneapolis Institute of Art. Radiant, refined and deeply personal, \u003cem\u003ePilote de la Meuse\u003c\/em\u003e is a remarkable example of Signac’s signature genius. \u003cbr\u003e\u003cbr\u003e The painting is accompanied by its certificate of authenticity from Marina Ferretti-Bocquillon. \u003cbr\u003e\u003cbr\u003e Dated 1924 \u003cbr\u003e\u003cbr\u003e Canvas: 19” high x 25 1\/8” wide (48.3 x 63.8 cm)\u003cbr\u003e Frame: 27 3\/4” high x 33 3\/4” wide x 3 1\/4” deep (70.5 x 85.7 x 8.3 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2689.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Léon Marseille, Paris\u003cbr\u003e Collection of Edmond Sussfeld\u003cbr\u003e Private Collection, by descent\u003cbr\u003e Private Collection, Europe\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Françoise Cachin, Signac: Catalogue raisonné de l'oeuvre peint, Paris, 2000, no. 565, reproduced p. 323 \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, 1930, Bernheim-Jeune, Paul Signac, no. 40, reproduced\u003cbr\u003e Paris, 1934, Petit-Palais, Paul Signac, no. 35\u003cbr\u003e Viroflay, 1965, Salon du Souvenir de Corot, 13th exhibition","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45113633210503,"sku":"32-2689","price":5450000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2689_1_ad5c80a0-e80e-4341-b01a-6e8b62c1e4fc.png?v=1794338387"},{"product_id":"madame-lemmen-et-ses-enfants-dans-un-jardin-by-georges-lemmen","title":"Madame Lemmen et ses enfants dans un jardin by Georges Lemmen","description":"Georges Lemmen\u003cbr\u003e 1865-1916 | Belgian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMadame Lemmen et ses enfants dans un jardin\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eMadame Lemmen and Her Children in a Garden\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed with the artist’s monogram and dated “1900” (lower right)\u003cbr\u003e Oil and pastel on paper laid down on board \u003cbr\u003e\u003cbr\u003e An intimate portrait of the artist’s family, \u003cem\u003eMadame Lemmen et ses enfants dans un jardin\u003c\/em\u003e captures Georges Lemmen’s wife and children enjoying a quiet afternoon in the Belgian countryside. Painted in 1900, the composition hails from the artist’s mature period, when he had relaxed the strict Pointillist technique of his earlier work in favor of a freer and more atmospheric approach. \u003cbr\u003e\u003cbr\u003e Lemmen depicts his wife, Aline, seated beneath a pale parasol, accompanied by their two children amid an expanse of sunlit grass. The figures’ brilliant orange and red hats punctuate the garden’s delicate greens and blues, drawing the eye across the composition. At right, one child reclines with their back to the viewer, while another sits in the shade of a leafy tree as a distant church spire rises above the horizon. \u003cbr\u003e\u003cbr\u003e The painting reflects Lemmen’s evolution beyond the systematic dots of his Neo-Impressionist period. While the broken brushwork and complementary colors reveal the lasting influence of Georges Seurat, the graceful contours, flattened perspective and decorative arrangement of the figures display Lemmen’s growing affinity for Symbolism and Art Nouveau. The result is a remarkably harmonious synthesis of portraiture, landscape and modern color theory. \u003cbr\u003e\u003cbr\u003e Born in Schaerbeek, Belgium, Georges Lemmen emerged as an important member of the Belgian avant-garde. After encountering Seurat’s revolutionary Neo-Impressionist paintings in Brussels, Lemmen adopted Pointillism and joined the influential artists’ group Les XX in 1888. Over the following decade, he gradually transformed Seurat’s rigorous method into a more personal style particularly suited to portraiture, domestic interiors and landscapes. His works are represented in major institutions, including the Musée d’Orsay, the National Gallery of Art and the Art Institute of Chicago. \u003cbr\u003e\u003cbr\u003e The work will be included in the forthcoming Georges Lemmen catalogue raisonné being prepared by Olivier Bertrand. \u003cbr\u003e\u003cbr\u003e Painted 1900 \u003cbr\u003e\u003cbr\u003e Paper: 9 1\/8\" high x 12 1\/4\" wide (23 x 31 cm)\u003cbr\u003e Frame: 16 1\/4\" high x 19 5\/8\" wide x 1\" deep (41.28 x 49.85 x 2.54 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection\u003cbr\u003e Private collection, United States\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45267181142151,"sku":"32-2620","price":32500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2620_1.png?v=1784316081"}],"url":"https:\/\/rauantiques.com\/collections\/10-26-pointillism.oembed","provider":"M.S. Rau","version":"1.0","type":"link"}