TH. (THEO) VAN RIJSSELBERGHE 1862 Gent - 1926 Saint Clair (Var) Deux Hommards
Oil / Panel: 24 x 41 cm
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Width: 41 cm
Sale28 mei 1986, no. 16, London, 28 mei 1986
Collectie Baels, Antwerp, 1986 - 2002
Sale Sotheby's, Amsterdam, 25 nov. 2002
Private collection The Netherlands
Ronald Feltkamp,, "Théo van Rijsselberghe. 1862-1926", 2003, Brussel, p. 232, no. 1907-055 (ill.)
Over TH. (THEO) VAN RIJSSELBERGHE
Van Rijsselberghe received a classical education at the art academies of Ghent and Brussels. Early on, in the early 1880s, he was interested in the new developments, particularly within French Impressionism.
In 1883, he helped establish the avant-garde movement "Les XX, " with Jan Toorop (1858-1928) joining as the only Dutch member. In 1886, Van Rijsselberghe travelled with his friend, writer Emile Verhaeren (1855-1916), to the eighth Impressionist exhibition. There, he was captivated by Edgar Degas's (1834-1917) works, especially his studies of women, and by Georges Seurat's (1859-1891) renowned painting, "Un dimanche à la Grande Jatte. " This did not lead to an immediate change in his style, which at the time was similar to Edouard Manet's (1832-1883). It wasn't until around 1890 that his style shifted, adopting a Pointillist approach. Van Rijsselberghe would continue using this technique for twenty years with minimal changes.
His subjects included landscapes, portraits, and still lifes. As one of the few Pointillists, he used an exceptionally refined stippling technique often for full-length portraits, capturing subtle details, emotions, and light with soft colors. With these portraits, he outperformed his renowned predecessor Seurat, who rarely made such portraits and viewed people primarily as part of a social setting, often depicting them in a formal, stiff manner.
Van Rijsselberghe's knowledge of Paul Signac's work (1863-1935) shaped his technique, resulting in a less rigid method, more vibrant color contrasts, and shorter, more fluid brushstrokes.
The "Bouquet of Ranunculus before a Mirror" exemplifies his painting style from 1910 onward. That year, he left his homeland and made France his permanent home—initially in Paris, then, after 1911, in the southern regions of the country.