HENRI LE SIDANER (1862-1939)
HENRI LE SIDANER (1862-1939)
HENRI LE SIDANER (1862-1939)
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HENRI LE SIDANER (1862-1939)
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On occasion, Christie's has a direct financial int… 显示更多 Visionary: The Paul G. Allen Collection
HENRI LE SIDANER (1862-1939)

La Sérénade, Venise

53 7/8 x 72 ¼ in. (137 x 183.5 cm.)
Galerie Georges Petit, Paris and M. Knoedler & Co., Inc., New York (14 February 1927, until January 1931).
André Beauguitte, France; Estate sale, Hôtel Drouot, Paris, 19 November 1986.
Anon. sale, Sotheby's, London, 1 July 1987, lot 158.
Private collection (acquired at the above sale); sale, Sotheby's, New York, 14 May 1998, lot 164.
Acquired at the above sale by the late owner.
“London Exhibitions” in The Art Journal, 1907, vol. 69, p. 154 (titled Musique sur l’eau, le soir).
The Spectator, 9 March 1907 (titled Musique sur l’eau, le soir).
“The Goupil Gallery” in The Builder, 9 March 1907, vol. 92, p. 289 (titled Musique sur l’eau, le soir).
Le Figaro Illustré, May 1907.
L. Vauxcelles, Salons de 1907, 1907, p. 30.
"An American Salon at Pittsburgh: Annual Carnegie Exhibition" in American Art News, 8 May 1909, vol. VII, no. 30, p. 2.
C. Mauclair, Le Sidaner, Paris, 1928, p. 53 (illustrated).
La gazette de l'Hôtel Drouot, October 1986.
Le Figaro Magazine, 15 November 1987.
Y. Farinaux-Le Sidaner, Le Sidaner: L'oeuvre peint et gravé, Paris, 1989, p. 104, no. 202 (illustrated).
Y. Farinaux-Le Sidaner, Henri Le Sidaner: Paysages intimes, Paris, 2013, p. 91 (illustrated in color).
London, Goupil Gallery, Venise: Lueurs et lumières, par Henri le Sidaner, March 1907, no. 4 (titled Musique sur l’eau, le soir).
Paris, Salon de la Société Nationales des Beaux-Arts, Henri Le Sidaner, 1907, no. 769.
Pittsburgh, Carnegie Institute, Henri Le Sidaner, April-June 1909, no. 169.
Pittsburgh, Carnegie Institute, Henri Le Sidaner, October 1927, no. 131.
The Brooklyn Museum and San Francisco, Palace of the Legion of Honor, Henri Le Sidaner, 1928, no. 93.
Oregon, Portland Art Museum; Washington, D.C., The Phillips Collection; Minneapolis Institute of Arts; New Orleans Museum of Art and Seattle Art Museum, Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection, October 2015-May 2017, p. 98, no. 22 (illustrated in color, p. 99; detail illustrated in color, pp. 100-101).
On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.


Max Carter
Max Carter Vice Chairman, 20th and 21st Century Art, Americas


Capturing Venice in all its atmospheric splendor, Henri Le Sidaner’s monumental La Sérénade, Venise pictures the Grand Canal with one of the city’s great landmarks, the Doge’s Palace, rising on the bank opposite. In the foreground a group of gondolas filled with figures are gathered to listen to a musical serenade. Cloaked in inky-blue shadows, they are illuminated by the multi-colored lamps that radiate from this nocturnal scene. Taking the place of the moon, these glowing orb-shaped lights multiply the glittering light effects in the scene.
Having first visited Venice in the early 1890s, Le Sidaner returned to the famed floating city in 1905. Perhaps in part inspired by the earlier retrospective exhibition of James McNeill Whistler at the Ecole des Beaux-Arts in Paris, whose visions of Venice exerted an important influence on artists at this time, Le Sidaner arrived in the autumn of this year. This trip offered him a very different impression of the city than when he had first visited at the beginning of the 1890s. This time, the artist embraced the legendary atmospheric qualities of Venice—light reflections, fog, rain and sun—and was particularly drawn to depicting these ephemeral effects at night. “He shows the true Venice,” a critic described when a selection of works from his Venetian stay were shown in Paris in 1906, “the familiar Venice, Venice true to life and lost in a dream” (“Les Salon de 1906,” in La Gazette des Beaux-Arts, 1906, quoted in Henri Le Sidaner: A Magical Impressionist, exh. cat., Kunstammlungen Chemnitz, 2009, p. 43).
Finding that his Venice paintings were met with critical success, Le Sidaner returned again in the fall of 1906, and remained there with his family until February of the following year. He once again fell under the spell of the coloristic—as well as evocative—visual effects the city offered. It was during this stay that Le Sidaner and his wife, Camille, took evening gondola rides to enjoy the music played from an orchestra boat on the Grand Canal. It was these idyllic interludes that inspired the present work. The artist produced a number of sketches of the various elements of the scene, including a depiction of his wife, Camille, who appears as the seated female figure in the immediate foreground of the finished work (Farinaux-Le Sidaner, no. 967) (see Y. Farinaux-Le Sidaner, Henri Le Sidaner, Paysages intimes, Château de Saint-Rémy-en-l’Eau, 2013, p. 88). Le Sidaner had long been interested in the Symbolist equivalence between art and music. Here, he brings this to life, marrying the sounds of this evening entertainment with the vivid atmosphere and rich colors and light of Venice.
Le Sidaner’s Impressionistic views of Venice pre-date Claude Monet’s own series of Venetian views, which he painted during his first and only campaign in the city in the autumn of 1908. The artists' depictions of the canals and bridges, churches and palazzi have often drawn comparison, as both sought, in varying ways, to capture the famed effects of light and color. Though similar, Le Sidaner differed from his contemporary in his love of nocturnal scenes. In the present work, he has employed an Impressionist, and, in the dappled brushwork, a Pointillist, handling with which to capture the ceaseless sparkling lights reflecting on water, distilling something of the mysterious atmosphere of this magical city.

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