This is a museum work by the Belgian painter Henri Evenepoel 1872-1899.
It is a beautiful blond work which is very well painted.
The painting has a museum quality with beautiful colours.
The work is signed on the bottom left with monogram h e as he did for a lot his works.
The painting has been professionally restretched and is in good condition.
The dimensions of the frameless painting are 91 cm x 120 cm and are worn by a beautiful gallery frame made in Brussels.
Henri Evenepoel private
The Belgian painter Henri Evenepoel (1872-1899) did not live beyond the age of 27, but he left us three hundred paintings, a thousand photographs and approximately four hundred letters. Quite a few excellent portraits and cityscapes are kept in the major Belgian museums: Brussels, Ghent, Antwerp and Liège. But there is still a lot of surprising work in private collections and less accessible collections. A large selection of this can now be seen in Brussels, and that is very exceptional.
L' Association du Patrimoine Artistique and Eric Gillis Fine Art have joined forces and are presenting a remarkable ensemble of some 70 paintings and drawings by Evenepoel in two places near the Brussels Zavel until 29 October.
A tiny winter scene with the Louvre in the starkly lit snow and an equally small Arabian house, painted during his stay in Algeria, come from private collections. In that last work, you can see how Evenepoel has a particular eye for the blazing, North African light with which he had a love-hate relationship.
These works are interspersed with interiors, a still life, landscapes and market scenes from Algeria, and portraits of Louise (the niece Henri fell in love with), Henriette (Louise's daughter) and Charles (their son). Some of the works come from the collections of the provinces of Flemish and Walloon Brabant (the studio and ‘Halfvasten’ in the Faubourg Saint-Antoine respectively) and from the Belgian Senate (the sketchy ‘Dame met hoed’).
Evenepoel belonged to Matisse's generation, with whom he moved to Paris and visited Gustave Moreau's studio. But unlike the French master, Evenepoel did not entertain colour experiments and continued to prefer 'realistic' scenes of everyday life: the canal in Laeken, workers at work, pubs with prostitutes, people walking in the Bois de Boulogne and a fairground stall with wrestlers. Too much realism, too little aesthetic – that is what his particularly critical father thought, who continued to support him financially from Brussels.
Evenepoel was a painter in a period of great fermentation and rapid evolutions. He found his own way: like Cézanne, he wanted to paint more solidly than the Impressionists with their loose dash-like technique. On the other hand, he felt that Matisse, after a stay in Corsica, went too far with his bright, fauvist colour splurges.
On the threshold of the twentieth century, Evenepoel hesitated. He struggled with himself, with tradition and with the striking light. How would he have evolved? We could only guess, just like with the other young deceased, brilliant painter of light and colour: Rik Wouters
Work comes from private collection of former art dealer Henk Kamping.
- Henri Evenepoel (1872-1899)
- Titel des Kunstwerks
- Zelfportret van de schilder met een dame, kind en hond
- Öl auf Leinwand
- Guter Zustand
- 129×101×4 cm