{"title":"French Post-Impressionist Landscape Paintings","description":"\u003ch2\u003eFrench Post-Impressionist Landscape Paintings and the Meaning of Place\u003c\/h2\u003e\u003cp\u003eFrench Post-Impressionist landscape paintings occupy a compelling space between observation and invention. They remain rooted in the visible world, yet they often push beyond immediate description toward structure, rhythm, symbolism or heightened color. That tension gives the category its particular force. At M.S. Rau, we approach French Post-Impressionist landscape paintings as works that reward both visual delight and sustained looking, paintings in which atmosphere, design and artistic temperament are inseparable.\u003c\/p\u003e\u003cp\u003eCollectors discovering this category may also wish to browse our \u003ca href=\"https:\/\/rauantiques.com\/collections\/post-impressionist-art\"\u003ePost-Impressionist Art\u003c\/a\u003e and \u003ca href=\"https:\/\/rauantiques.com\/collections\/impressionist\"\u003eImpressionist Art\u003c\/a\u003e collections to see how French artists transformed landscape across related movements.\u003c\/p\u003e\u003ch2\u003eWhat Distinguishes Post-Impressionist Landscape\u003c\/h2\u003e\u003cp\u003ePost-Impressionism is often described less as a single style than as a broad artistic response to Impressionism. In landscape painting, that meant artists could preserve the freshness of outdoor observation while pursuing stronger structure, more deliberate color relationships or a more personal emotional vocabulary. French Post-Impressionist landscapes often retain light, weather and season as essential subjects, but they may organize those elements with greater clarity or expressive intensity than a purely Impressionist view.\u003c\/p\u003e\u003cp\u003eFor collectors, that combination is a major part of the appeal. These paintings can feel immediate and painterly, yet they also possess an underlying order that gives them durability. A hillside, village road, riverbank or harbor scene becomes more than a record of place. It becomes a meditation on color, form and mood.\u003c\/p\u003e\u003ch2\u003eColor, Structure and Artistic Intent\u003c\/h2\u003e\u003cp\u003eIn French Post-Impressionist landscape paintings, color is rarely accidental. It may remain faithful to nature in broad terms, but it is often sharpened, simplified or rebalanced to serve the internal logic of the picture. Greens, blues and ochres may be organized in large, resonant areas. Brushwork may break a scene into active units of color or build forms through repeated directional strokes. Even when the subject is familiar, the painting’s power often lies in how the artist transforms visual fact into a more deliberate pictorial statement.\u003c\/p\u003e\u003cp\u003eStructure matters just as much. Trees, paths, rooftops and fields are not simply observed. They are arranged. The most persuasive works feel stable without becoming rigid, and expressive without losing coherence. That balance is one of the clearest marks of quality within the category.\u003c\/p\u003e\u003ch2\u003eWhy Collectors Are Drawn to the Category\u003c\/h2\u003e\u003cp\u003eFrench Post-Impressionist landscape paintings speak to collectors who enjoy both beauty and artistic individuality. They often carry the charm of French scenery while also revealing a distinct point of view. Some works feel lyrical and atmospheric. Others are more architectonic or boldly chromatic. This range makes the category especially rich for collectors who want landscapes with personality rather than generic prettiness.\u003c\/p\u003e\u003cp\u003eThe category also fits naturally within broader collections of late nineteenth- and early twentieth-century art. It can connect well with Impressionist paintings while introducing a different kind of formal strength. It can also sit comfortably near more modern works because many of the concerns associated with twentieth-century painting are already visible here in emerging form.\u003c\/p\u003e\u003ch2\u003eWhat to Look for in a Strong Example\u003c\/h2\u003e\u003cp\u003eWhen evaluating French Post-Impressionist landscape paintings, collectors often begin with overall composition and color harmony. Does the painting feel resolved? Do the shapes lead the eye with clarity? Is the palette vivid in a way that feels convincing rather than arbitrary? Strong works usually show a disciplined relationship between spontaneity and control. Brushwork can be lively, but it should never feel uncertain. The painting should have a clear internal order, whether quiet or emphatic.\u003c\/p\u003e\u003cp\u003eCondition deserves close attention. Landscapes in this category may depend on textured paint, layered color and sensitive tonal transitions that can be compromised by restoration or surface disruption. A careful review of varnish, paint stability and any prior intervention is important, especially in passages of sky, foliage and middle distance where subtle shifts often matter most.\u003c\/p\u003e\u003ch2\u003eLandscape, Place and Interior Life\u003c\/h2\u003e\u003cp\u003eOne of the lasting strengths of this category is that it gives equal weight to place and perception. French Post-Impressionist landscapes are often grounded in recognizable motifs such as countryside paths, villages, coastal views and cultivated fields, yet the works can also feel inward and reflective. They tell us something about how a scene was structured in the artist’s imagination, not just how it appeared in front of the easel.\u003c\/p\u003e\u003cp\u003eThat depth makes these paintings rewarding to live with. They bring color and atmosphere to an interior, but they also sustain attention over time because their formal decisions continue to unfold. Collectors looking for related works across the broader field may also enjoy our \u003ca href=\"https:\/\/rauantiques.com\/pages\/fine-art-collection\"\u003eFine Art Collection\u003c\/a\u003e, which places landscape into a wider context of subject and movement.\u003c\/p\u003e\u003ch2\u003eFrench Post-Impressionist Landscape Paintings at M.S. Rau\u003c\/h2\u003e\u003cp\u003eM.S. Rau selects French Post-Impressionist landscape paintings with an emphasis on artistic quality, visual authority and historical sensitivity. We look for works that embody the movement’s best qualities: perceptive observation, a disciplined use of color and a compositional intelligence that gives the painting its lasting presence. Whether a collector is building a focused fine art collection or seeking a single painting with atmosphere and character, these landscapes offer a deeply satisfying point of entry.\u003c\/p\u003e\u003cp\u003eThe best examples do not merely depict a view. They shape an experience of place through color, order and feeling, which is why the category continues to resonate so strongly with serious collectors.\u003c\/p\u003e\u003ch2\u003eFrequently Asked Questions About French Post-Impressionist Landscape Paintings\u003c\/h2\u003e\u003cp\u003eWhat is Post-Impressionism in landscape painting? Post-Impressionism describes a range of artistic approaches that grew out of Impressionism while placing greater emphasis on structure, color design, symbolism or personal expression.\u003c\/p\u003e\u003cp\u003eHow is a Post-Impressionist landscape different from an Impressionist one? While the distinction is not always absolute, Post-Impressionist landscapes often feel more deliberately constructed and may use color or form in a more interpretive way.\u003c\/p\u003e\u003cp\u003eWhy are French landscapes important within Post-Impressionism? France was central to the movement’s development, and its countryside, villages and coastal settings provided many artists with enduring subjects for experimentation and expression.\u003c\/p\u003e\u003cp\u003eWhat should collectors look for first? Composition, color harmony and overall conviction are excellent starting points. A strong work should feel unified, intentional and visually alive.\u003c\/p\u003e\u003cp\u003eDo these paintings work well in contemporary interiors? Yes. Their color, rhythm and sense of place often translate beautifully into modern settings while still carrying clear historical character.\u003c\/p\u003e\u003cp\u003eIs condition especially important for this category? Very much so. Surface nuance, brushwork and layered color are central to the appeal of these paintings, so preservation and conservation quality should be assessed with care.\u003c\/p\u003e","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 Cabandel 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 George 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_da40b300-a9ae-4767-908f-31e11a2f3694.png?v=1717922680"},{"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":"le-jardin-municipal-noisy-le-sec-by-h-claude-pissarro","title":"Le jardin municipal, Noisy-le-Sec by H. Claude Pissarro","description":"Hugues Claude Pissarro\u003cbr\u003e b.1935 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe jardin municipal, Noisy-le-Sec\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eThe Municipal Garden, Noisy-le-Sec\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed “H. Claude Pissarro” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The Pissarro family of French painters holds a significant legacy in the history of art. This captivating composition, \u003cem\u003eLe jardin municipal, Noisy-le-Sec (Seine-St-Denis)\u003c\/em\u003e, by French artist Hugues Claude Pissarro, is a remarkable continuation of that tradition. Demonstrating his signature impasto technique, Pissarro captures a serene park scene alive with texture and vibrant color. Figures, including a small child accompanied by their guardian, meander along sun-dappled paths that wind through the verdant greenery. Houses dot the park's edges, while light filters gently through the tree canopy, casting a calming glow. The lush trees sway in the breeze, and the park brims with vibrant foliage, transporting viewers to a tranquil, sunlit day in the heart of France. \u003cbr\u003e\u003cbr\u003e Pissarro began painting at a young age, learning his craft from his father and taking inspiration from his legendary lineage, which includes the Impressionist master Camille Pissarro. He exhibited his first works at the young age of 14 and later studied in Paris. Like many of his family predecessors, the scope of his work and talent is vast, ranging from engraving to lithography, from publishing to painting. His reputation as a painter quickly spread, resulting in a White House commission in 1959 to paint the portrait of President Eisenhower. While his style has evolved throughout his career, he is best known for his brightly colored impressionist works. \u003cbr\u003e\u003cbr\u003e Canvas: 17 5\/8\" high x 21 1\/8\" wide (44.77 x 53.66 cm)\u003cbr\u003e Frame: 26 7\/8\" high x 30 3\/4\" wide x 2 1\/4\" deep (68.26 x 76.84 x 5.72 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42250751312007,"sku":"32-0514","price":39850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0514_1.png?v=1738751817"},{"product_id":"la-neige-au-grand-lemps-by-pierre-bonnard","title":"La neige au Grand-Lemps by Pierre Bonnard","description":"Pierre Bonnard\u003cbr\u003e 1867-1947 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa neige au Grand-Lemps\u003cbr\u003e (The Snow at Grand-Lemps)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Bonnard\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Pierre Bonnard is widely celebrated as one of the greatest colorists in art history, central to the evolution of modern art. His captivating canvases are distinguished by their luminosity and chromatic complexity, and this rare winter landscape is no exception. \u003cem\u003eLa neige au Grand-Lemps\u003c\/em\u003e captures one of Bonnard's most beloved locales and embodies his lifelong fascination with—and mastery of—the color white. \u003cbr\u003e\u003cbr\u003e Painted in 1910, \u003cem\u003eLa neige au Grand-Lemps\u003c\/em\u003e reflects a pivotal moment in Bonnard’s artistic practice. As a founder of the influential group \u003cem\u003eLes Nabis\u003c\/em\u003e, Bonnard was known throughout the 1890s for his colorful, highly complex interior scenes that infused the everyday with symbolic meaning. Around 1900, Bonnard drifted away from the bustle of Paris and traveled Europe with his friend Édouard Vuillard, finding new inspiration in the idyllic landscapes of France. \u003cbr\u003e\u003cbr\u003e Unlike the Impressionists who painted \u003cem\u003een plein air\u003c\/em\u003e, Bonnard painted almost entirely from memory—and this painting evocatively depicts the scenery of his childhood in Le Grand-Lemps. This work also reveals Bonnard’s obsession with capturing the elusive brilliance of white. He composes the entire painting around this color, carefully layering hundreds of subtle hues to bring the snow, ice and winter sky shimmering to life. \u003cbr\u003e\u003cbr\u003e Bonnard's landscapes are exceptionally rare today, especially snowy scenes such as this one. With its prestigious provenance and exhibition history, this work is an exceptional, museum-caliber masterpiece. Similar landscapes by Bonnard belong to important museum collections worldwide, including the Metropolitan Museum of Art, the Tate Modern and the National Gallery of Art in Washington, D.C. The Musée Bonnard is dedicated entirely to the artist's legacy, and \u003cem\u003eLa neige au Grand-Lemps\u003c\/em\u003e was exhibited there in 2024. \u003cbr\u003e\u003cbr\u003e Born in 1867 in Fontenay-aux-Roses, Bonnard initially studied law before training as an artist at the Académie Julian and the École des Beaux-Arts. Aligning himself with the Symbolist avant-garde, he founded the important group, Les Nabis, along with Maurice Denis and Édouard Vuillard. Known for his intimate interior scenes and evocative nudes, Bonnard developed a highly sophisticated and unique color palette that earned him widespread acclaim. The artist spent his later decades in the South of France, where he continued to refine an increasingly introspective style until his death in 1947. His commitment to the subtleties of perception and color secured his position as one of the most influential figures in modern art, and his landscapes remain among the most sought-after expressions of his lifelong pursuit of visual sensation. \u003cbr\u003e\u003cbr\u003e Painted 1910 \u003cbr\u003e\u003cbr\u003e Canvas: 19 1\/2\" high x 25 1\/2\" wide (49.53 x 64.77 cm)\u003cbr\u003e Frame: 28 1\/2\" high x 34 3\/4\" wide x 3\" deep (72.39 x 88.27 x 7.62 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-1819.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Charles Terrasse, Paris (artist's nephew), by descent from the artist\u003cbr\u003e Thence by descent\u003cbr\u003e Private Collection, Paris\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e A. Terrasse, \u003cem\u003eBonnard\u003c\/em\u003e, Geneva, 1965, p. 51 (illustrated)\u003cbr\u003e J. \u0026amp; H. Dauberville, \u003cem\u003eBonnard, Catalogue raisonné de l'oeuvre peint\u003c\/em\u003e, vol. II, 1906-1919, Paris, 1968, no. 609, p. 200 (illustrated)\u003cbr\u003e \u003cem\u003eBonnard: The Late Paintings\u003c\/em\u003e, exhibition catalog, New York, 1984, p. 178 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Orangerie des Tuileries, \u003cem\u003eBonnard\u003c\/em\u003e, 1947, no. 44\u003cbr\u003e Edinburgh, Royal Scottish Academy, \u003cem\u003eExhibition of Paintings by Pierre Bonnard and Edouard Vuillard\u003c\/em\u003e, 1948, no. 33, p 12\u003cbr\u003e Basel, Musée des Beaux-Arts, \u003cem\u003ePierre Bonnard\u003c\/em\u003e, 1955, no. 41, p. 23\u003cbr\u003e Nice, Musée de Ponchettes, \u003cem\u003eBonnard\u003c\/em\u003e, 1955, no. 14, p. 27\u003cbr\u003e Paris, Galerie Bernheim-Jeune, \u003cem\u003eHommage à Bonnard\u003c\/em\u003e, 1956, no. 18\u003cbr\u003e Munich, Haus der Kunst, Secession Gallery, \u003cem\u003eEuropaïsche Kunst\u003c\/em\u003e, 1964, no. 41\u003cbr\u003e London, Royal Academy of Arts, \u003cem\u003ePierre Bonnard\u003c\/em\u003e, 1966, no. 94\u003cbr\u003e Oslo, Kunstnerforbundet, \u003cem\u003ePierre Bonnard\u003c\/em\u003e, 1966, no. 9\u003cbr\u003e Munich, Haus der Kunst, \u003cem\u003ePierre Bonnard\u003c\/em\u003e, 1966-1967, no. 59 (illustrated)\u003cbr\u003e Paris, Orangerie des Tuileries, \u003cem\u003eCentenaire de la naissance de Pierre Bonnard\u003c\/em\u003e, 1967, no. 66 (illustrated)\u003cbr\u003e Colmar, Musée d'Unterlinden, \u003cem\u003eAutour d'une acquisition, Bonnard\u003c\/em\u003e, 1982\u003cbr\u003e Paris, Galerie Schmit, \u003cem\u003ePierre Bonnard\u003c\/em\u003e, 1995, no. 22 (illustrated)\u003cbr\u003e Musée Bonnard, le Cannet, 2024\u003cbr\u003e Paris, Fondation Maeght, \u003cem\u003eBonnard \u0026amp; Matisse: A Friendship\u003c\/em\u003e, 2024","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44528119349383,"sku":"32-1819","price":1250000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1819_1.png?v=1781205916"},{"product_id":"la-table-sur-la-terrasse-au-clair-de-lune-by-henri-le-sidaner","title":"La table sur la terrasse au clair de lune by Henri Le Sidaner","description":"Henri Le Sidaner\u003cbr\u003e 1862-1939 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa table sur la terrasse au clair de lune, Villefranche-sur-Mer\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eThe Table on the Terrace in the Moonlight, Villefranche-sur-Mer\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed \"Le Sidaner\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A master of Post-Impressionism, Henri Le Sidaner found acclaim for his dreamlike domestic scenes, particularly those bathed in the soft glow of twilight. Capturing the artist's signature subject of a mysterious table scape, this exceptional painting from 1927, entitled \u003cem\u003eLa table sur la terrasse au clair de lune\u003c\/em\u003e, embodies what the artist's biographer called the magic of \"the hour of Le Sidaner.\" \u003cbr\u003e\u003cbr\u003e A leading figure in Intimism—a movement focused on the intense exploration of interiors and domesticity—Le Sidaner perfectly captures the essence of this style in this work. The central table is set for a meal on a balcony, overlooking a peaceful countryside vista. The empty chairs pulled back beckon the viewer to join this luminous scene, inviting them into a world of color and harmony. Unlike Impressionists and Post-Impressionists who focused on capturing fleeting moments through observation, Le Sidaner worked from memory. This allowed him to render the essence and emotional experience of a place, imbuing his mesmerizing works with a mystical quality. \u003cbr\u003e\u003cbr\u003e When the artist discovered the town of Villefranche-sur-Mer, where this work was painted, he was immediately taken with its steep streets, the citadel of Saint‑Elme and the shimmering harbor. He stayed there intermittently between 1924 and 1928, creating colorful canvases such as this one, devoted to the town's street, windows and views over the bay. \u003cbr\u003e\u003cbr\u003e Le Sidaner was born in 1862 in Port Louis, Mauritius, and his artistic career began at the École des Beaux-Arts under Alexandre Cabanel, but found himself disenchanted with the academy. Le Sidaner relocated to the Étaples artist colony in 1885, where he discovered Impressionism and the \u003cem\u003eplein air\u003c\/em\u003e paintings of Monet. Eventually, he would go on to incorporate influences from Post-Impressionism, Pointillism and Symbolism into his masterful works and exhibit alongside important artists including Paul Signac and Henri Martin. \u003cbr\u003e\u003cbr\u003e In 1930, Le Sidaner was honored with a Professorship at the Académie des Beaux-Arts, and in 1937 he was named its President. He died in 1939 in Versailles, France, at the age of 76. His works are held in the permanent collections of prestigious museums around the world, such as the Tate Modern, the Phillips Collection and the Metropolitan Museum of Art. \u003cbr\u003e\u003cbr\u003e Painted 1927 \u003cbr\u003e\u003cbr\u003e Canvas: 28” high x 35” wide (71.1 x 88.9 cm)\u003cbr\u003e Frame: 41 3\/4” high x 48 3\/4” wide x 3” deep (106.1 x 123.8 x 7.6 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2242.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist through Georges Petit, Paris\u003cbr\u003e The private collection of Andre Schoeller, Paris\u003cbr\u003e Private Collection, Europe\u003cbr\u003e Daphne Alzraki art gallery, 2007\u003cbr\u003e Private collection, United States since 2008 until 2019\u003cbr\u003e Private collection, United States \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Le Gaulois Artistique, 13 November, 1927\u003cbr\u003e Le Nord Artistique et Littéraire, 15 November, 1927\u003cbr\u003e Camille Mauclair, Le Sidaner, 1928, p. 209\u003cbr\u003e Y. Farinaux-Le Sidaner, Le Sidaner, L'oeuvre peint et gravé, Milan, 1989, no. 614 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e November 1927, Exposition Le Sidaner, Galeries Georges Petit, Paris, no. 22","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44256930037895,"sku":"32-2242","price":985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2242_1_0379f467-4e06-4f14-a810-1bcc58b4d6fb.png?v=1774962194"},{"product_id":"la-table-sous-la-tonnelle-gerberoy-by-henri-le-sidaner","title":"La table sous la tonnelle, Gerberoy by Henri Le Sidaner","description":"Henri Le Sidaner\u003cbr\u003e 1862-1939 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa table sous la tonnelle, Gerberoy\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eThe Table under the Arbor, Gerberoy\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed \"Le Sidaner\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A master of Post-Impressionism, Henri Le Sidaner is celebrated for his luminous, dreamlike paintings that seem to glow from within. Within his extraordinary oeuvre, \u003cem\u003eLa table sous la tonnelle, Gerberoy\u003c\/em\u003e stands firmly among his greatest masterpieces: an absolutely breathtaking vision of the artist’s most iconic subject—his beloved gardens and Temple of Love. Painted at the height of his career, this masterwork was an instant sensation and one that Le Sidaner cherished for the rest of his life. \u003cbr\u003e\u003cbr\u003e This masterwork's beauty is immediate and stunning. Le Sidaner’s famed Temple of Love is bathed in the golden radiance of sunset, while climbing roses and lush greenery surround the scene in a brilliant haze of color. Every inch of the canvas seems to shimmer, as Le Sidaner’s passion for color reaches one of its fullest and most poetic expressions. The scene is utterly transformed into something intimate, luminous and almost otherworldly. \u003cbr\u003e\u003cbr\u003e This was the world Le Sidaner had created for himself. He first discovered the quiet village of Gerberoy in 1901 on the recommendation of Auguste Rodin, and he was immediately captivated by the “haven of peace.” Three years later, he purchased a home there and began transforming its grounds into his own private paradise that would soon define his best works. At the heart of this world stood his Temple of Love, inspired by Marie Antoinette’s temple at Versailles. It became one of the most personal and significant motifs of his entire career, and this painting is one of its finest depictions. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa table sous la tonnelle, Gerberoy\u003c\/em\u003e was recognized as a great masterpiece from the beginning. Le Sidaner’s gallerist, Georges Petit, paid 3,000 francs for the work—the highest price the artist had received that year. It then became the centerpiece of Le Sidaner’s next exhibition, where it was promptly acquired by an eager collector. Remarkably, fifteen years later, when the painting appeared at auction, Le Sidaner bought it back for himself. Loving the work enough to repurchase it, he kept this painting for the rest of his life in his personal collection. \u003cbr\u003e\u003cbr\u003e Le Sidaner was born in 1862 in Port Louis, Mauritius, and his artistic career began at the École des Beaux-Arts under Alexandre Cabanel, but he found himself disenchanted with the academy. Le Sidaner relocated to the Étaples artist colony in 1885, where he discovered Impressionism and the \u003cem\u003eplein air\u003c\/em\u003e paintings of Monet. Eventually, he would go on to incorporate influences from Post-Impressionism, Pointillism and Symbolism into his masterful works and exhibit alongside important artists including Paul Signac and Henri Martin. \u003cbr\u003e\u003cbr\u003e In 1930, Le Sidaner was honored with a Professorship at the Académie des Beaux-Arts, and in 1937 he was named its President. He died in 1939 in Versailles, France, at the age of 76. His works are held in the permanent collections of prestigious museums around the world, including the Musée d'Orsay, the Phillips Collection, the Detroit Institute of Arts and the Metropolitan Museum of Art. \u003cbr\u003e\u003cbr\u003e Painted 1917 \u003cbr\u003e\u003cbr\u003e Canvas: 34 1\/4” high x 45 1\/4” wide (87 x 114.9 cm)\u003cbr\u003e Frame: 47” high x 58” wide x 4” deep (119.4 x 147.3 x 10.2 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2712.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist\u003cbr\u003e Galerie Georges Petit, Paris, nos. 2603, 9544, acquired from the above\u003cbr\u003e Private collection\u003cbr\u003e Sale, Hôtel Drouot, Paris, March 19, 1932, no. 38\u003cbr\u003e The artist, 1932–39, acquired from the above\u003cbr\u003e By descent to the artist’s son, Louis Le Sidaner, 1939\u003cbr\u003e Galerie Abels, Cologne, West Germany, 1962\u003cbr\u003e Hammer Galleries, New York\u003cbr\u003e Sale, Christie’s London, April 14, 1970, no. 11\u003cbr\u003e Kaplan Gallery, London\u003cbr\u003e Rutland Gallery, London\u003cbr\u003e Sale, Christie’s London, December 3, 1984, no. 10\u003cbr\u003e Galleries Maurice Sternberg, Chicago\u003cbr\u003e Private collection\u003cbr\u003e Thence by descent\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003eApollo\u003c\/em\u003e (1972)\u003cbr\u003e Yann Farinaux-Le Sidaner, \u003cem\u003eLe Sidaner: L’oeuvre peint et gravé\u003c\/em\u003e (France: Éditions André Sauret, 1989), p. 153, no. 377 illustrated\u003cbr\u003e Yann Farinaux-Le Sidaner, \u003cem\u003eHenri Le Sidaner: Paysages Intimes\u003c\/em\u003e (2013), p. 228 illustrated\u003cbr\u003e Yann Farinaux-Le Sidaner, \u003cem\u003eGerberoy par Henri Le Sidaner\u003c\/em\u003e (2023), p. 40 illustrated\u003cbr\u003e Yann Farinaux-Le Sidaner, \u003cem\u003eHenri Martin—Henri Le Sidaner, deux talents fraternels\u003c\/em\u003e (2024), p. 108 illustrated \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Galerie Georges Petit, Paris, March 1917, \u003cem\u003ePeintures et Sculptures\u003c\/em\u003e (ex-Société Nouvelle), no. 44\u003cbr\u003e Carnegie Institute, Pittsburgh, Pennsylvania, October 15–December 6, 1936, \u003cem\u003e1936 International Exhibition of Paintings\u003c\/em\u003e\u003cbr\u003e Galerie Charpentier, Paris, February–March 1939, \u003cem\u003eExposition Le Sidaner\u003c\/em\u003e, no. 6\u003cbr\u003e Musée Galleria, Paris, April 1949, \u003cem\u003eRétrospective Henri Le Sidaner\u003c\/em\u003e, no. 31\u003cbr\u003e Galerie de l’Art Belge, Brussels, Belgium, April 1951, \u003cem\u003eRétrospective Henri Le Sidaner\u003c\/em\u003e, no. 32\u003cbr\u003e Galerie Lorenceau, Paris, 1952, \u003cem\u003eTables et fenêtres par Henri Le Sidaner\u003c\/em\u003e, no. 21\u003cbr\u003e Galerie Abels, Cologne, West Germany, 1962, \u003cem\u003eFranzösische postimpressionistische Gemälde\u003c\/em\u003e, no. 43\u003cbr\u003e Kaplan Gallery, London, 1966, \u003cem\u003eImpressionist and Post-Impressionist Paintings\u003c\/em\u003e, no. 54\u003cbr\u003e Galleries Maurice Sternberg, Chicago, 1976, \u003cem\u003eMasters of the 19th and 20th Centuries\u003c\/em\u003e, no. 1","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44797661446279,"sku":"32-2712","price":2285000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2712_1_4c1a3eee-df03-4a72-ac5c-ea2aa2afd32c.png?v=1781126563"}],"url":"https:\/\/rauantiques.com\/collections\/french-post-impressionist-landscape-paintings.oembed","provider":"M.S. Rau","version":"1.0","type":"link"}