Henri Eugène Le Sidaner

1862 – 1939 • French

Biography

Henri Eugène Augustin Le Sidaner (7 August 1862 – 14 July 1939) who was a contemporary of the Post-impressionists, was an intimist painter known for his paintings of domestic interiors and quiet street scenes. His style contained elements of impressionism with the influences of Édouard Manet, Monet and of the Pointillists discernible in his work. Le Sidaner favoured a subdued use of colour, preferring nuanced greys and opals applied with uneven, dappled brushstrokes to create atmosphere and mysticism. A skilled nocturne painter he travelled widely throughout France and Europe before settling at Gerberoy in the Picardy countryside from where he painted for over thirty years.[2] Le Sidaner's paintings and pastels were widely collected throughout his career. His seductive views of the gardens he created in the ruins of the medieval fortress at Gerberoy, with their recently vacated tables dappled in sunlight and overhung by roses, have cemented his reputation as a unique artist who does not fit easily into an art movement .[3]

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Henri Eugène Le Sidaner

1862 – 1939 • French

Henri Eugène Le Sidaner

Biography

Henri Eugène Augustin Le Sidaner (7 August 1862 – 14 July 1939) who was a contemporary of the Post-impressionists, was an intimist painter known for his paintings of domestic interiors and quiet street scenes. His style contained elements of impressionism with the influences of Édouard Manet, Monet and of the Pointillists discernible in his work. Le Sidaner favoured a subdued use of colour, preferring nuanced greys and opals applied with uneven, dappled brushstrokes to create atmosphere and mysticism. A skilled nocturne painter he travelled widely throughout France and Europe before settling at Gerberoy in the Picardy countryside from where he painted for over thirty years.[2] Le Sidaner's paintings and pastels were widely collected throughout his career. His seductive views of the gardens he created in the ruins of the medieval fortress at Gerberoy, with their recently vacated tables dappled in sunlight and overhung by roses, have cemented his reputation as a unique artist who does not fit easily into an art movement .[3]

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