Country of origin: Belgium
Medium: Oil on board
Signed: Signed lower right and titled on original artists label verso
Dated: 1905
Condition: Very good original condition
Size: 10.00" x 13.00" (25.4cm x 33.0cm)
Framed Size: 16.00" x 19.00" (40.6cm x 48.3cm)
Provenance:
Original artists label verso for Georges Lemmen at 96 Avenue Coghen , Brussels
Private collection - Brussels
c. 1910
Oil on panel
£28,000.00
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Appareilleurs
by Maximilien Luce
c. 1910
Oil on original canvas
£5,950.00
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Nu avec des fleurs
by Georges D'Espagnat
1955
Oil on original canvas
£16,500.00
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Salon des arts menagers – 1955
by Jacques Martin-Ferrieres
1881
Oil on canvas
£79,500.00
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Le peintre en plein air
by Charles Theophile Angrand
1924
Oil on paper laid on panel
£5,950.00
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Dimanche
by Paul Elie Gernez
1932
Oil on board
£6,500.00
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Evening in Paris
by Louis Hayet
c. 1900
Oil on panel
£2,550.00
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Pierrot aux bonnet noir
by Armand Francois Henrion
1918
Oil on original canvas
£51,000.00
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Portrait of a Girl
by Alfredo Guttero
1915
Oil on panel
£2,650.00
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The Great War – Soldier & horse on a road
by Andre Devambez
1915
Oil on panel
£2,650.00
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Le Café de la Place Blanche
by Elie Anatole Pavil
1903
Oil on board laid on canvas
£28,000.00
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Le Manege
by Nikolai Aleksandrovich Tarkhoff
c. 1930
Oil on board
£4,950.00
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Nu dans les nuages
by Albert BraÏtou-Sala
Georges Lemmen was the son of an architect and studied under Amédée Bourson at the academy in St Joost-ten-Node. He was invited in 1889 to join the Group of Twenty ( Cercle des XX) which had been launched in 1884 by Oscar Maus and had in the interim emerged as an influential force in Belgian artistic circles, not least by bringing to public and critical attention the work of such artists as Georges Seurat and Paul Signac. The Cercle des XX would be reborn in 1894 as La Libre Esthétique.
In the early days of the Cercle des XX, Lemmen espoused a pointilliste technique. His earlier painting was clearly influenced by the Neo-Impressionists; over time, however, his style became more subtle and nuanced - recalling, perhaps, that of his compatriot Van Rysselberghe, another Cercle des XX member. With the group's rebirth as the Libre Esthétique, Lemmen's work became more intimiste in character, most notably in his portraits, nudes and still-lifes, where the influence of Bonnard and Vuillard is unmistakable, as is that of Renoir, particularly after Lemmen's travels in the Midi in 1911. From this point onwards, he would go on to make a major contribution to the renewal of the graphic and decorative arts in terms of his input to the new 'free' aesthetic and to Art Nouveau. Although his draughtsmanship retained its essential purity and elegance of line, his painting became more fleshy, imprecise and sensual, his compositions governed less by technical considerations than by the urgent need to express his emotions.
Between 1889 and 1893, Lemmen exhibited at the Salon des Indépendants in Paris, aligning himself with the Neo-Impressionists. In 1893, Henry van de Velde invited him to participate in the Pour l'Art association that had been created in Antwerp. He travelled to the south of France in 1911. By this juncture, he had already exhibited solo on two occasions (in 1906 and 1908) at the Galerie Druet in Paris. A further solo exhibition in 1913, his first in Brussels, cemented Lemmen's reputation.
Museum and Gallery Holdings
Bremen (Kunsthalle): Standing Nude Combing her Hair
Brussels (Mus. royaux des Beaux-Arts de Belgique): Children's Room (watercolour); Reading; Couture; Young Girl by the Sea (1913)
Ixelles: posters
Ostend (Mus. voor Schone Kunsten)
Paris (Mus. d'Orsay): River Thames; Portrait of Madame Lemmen (drawing)