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拍品专文
Cyrille Martin has confirmed the authenticity of this work.
Martin was born in 1860 in Toulouse, where at the age of 17 he entered the local École des Beaux-Arts. He excelled quickly and two years later, after winning their Grand Prix, he moved to Paris to study at the École des Beaux-Arts under academic painter Jean-Paul Laurens. Laurens introduced Martin to the masters of the Italian Renaissance, and his study of their works while on a trip to Italy in 1883 infused warmth into his palette and turned his focus to atmosphere. On returning to Paris in 1889, he experimented with the Neo-Impressionist method of Pointillism and, by 1898, the Pointillist technique of creating an image through contrasting colored dots was fully integrated into the modern pictorial tradition.
According to Petra ten-Doesschate Chu, "Martin owed his success to the development of a painting style that melded traditional and modernist elements. While he valued and relied upon his solid academic training, he was also quite attracted to the innovations of the Impressionists and Neo-Impressionists. With the former group, especially Claude Monet, he shared an overriding preoccupation with the suggestive rendering of the effects of light and atmosphere in painting. From the latter, he adopted the pointillist or 'divisionist' brushwork which, he felt, was most suitable to that purpose. He had little use for the scientific theories that underlay Neo-Impressionism and developed a personal form of pointillism that lacked a prescribed method. Indeed, when he first adopted divisionism in 1889, he is rumored to have said, 'It ought not to become a system, it would become quite boring.' To Martin, divisionism was always a means to an end—to capture the effects of light and color in nature as he saw them" (Eden Close at Hand, The Paintings of Henri Martin, Los Angeles, 2005, p. 10).
Martin was born in 1860 in Toulouse, where at the age of 17 he entered the local École des Beaux-Arts. He excelled quickly and two years later, after winning their Grand Prix, he moved to Paris to study at the École des Beaux-Arts under academic painter Jean-Paul Laurens. Laurens introduced Martin to the masters of the Italian Renaissance, and his study of their works while on a trip to Italy in 1883 infused warmth into his palette and turned his focus to atmosphere. On returning to Paris in 1889, he experimented with the Neo-Impressionist method of Pointillism and, by 1898, the Pointillist technique of creating an image through contrasting colored dots was fully integrated into the modern pictorial tradition.
According to Petra ten-Doesschate Chu, "Martin owed his success to the development of a painting style that melded traditional and modernist elements. While he valued and relied upon his solid academic training, he was also quite attracted to the innovations of the Impressionists and Neo-Impressionists. With the former group, especially Claude Monet, he shared an overriding preoccupation with the suggestive rendering of the effects of light and atmosphere in painting. From the latter, he adopted the pointillist or 'divisionist' brushwork which, he felt, was most suitable to that purpose. He had little use for the scientific theories that underlay Neo-Impressionism and developed a personal form of pointillism that lacked a prescribed method. Indeed, when he first adopted divisionism in 1889, he is rumored to have said, 'It ought not to become a system, it would become quite boring.' To Martin, divisionism was always a means to an end—to capture the effects of light and color in nature as he saw them" (Eden Close at Hand, The Paintings of Henri Martin, Los Angeles, 2005, p. 10).