Théo van Rysselberghe 1862-1926 België

Théo van Rysselberghe (1862-1926) was a Post-Impressionist who often painted in a Pointillist style. His Wikipedia entry is here. I wrote about him here, briefly touching on his portrait work. It seems that van Rysselberghe really liked Pointillism and the related Divisionism a lot, never totally abandoning (while watering down) the concepts later in his career when many of his paintings were more conventional. But he had to earn a living and, as for many painters, that required making portraits. So van Rysselberghe often tried to include as much Pointillism as he could in a number of those portraits. The problem is, Pointillism and portraiture do not mix easily. That's because Pointillism in its pure form cannot handle small details and sharp edges, things that portraits traditionally require. So compromises usually had to be made, as the images below indicate. They are presented in roughly chronological order. Gallery Portrait of Alice Sèthe - 1888 An early Pointillist portrait. Mathilde Vereeken - 1891 This features many little colored dots on the subject's face, but van Rysselberghe had to use some conventional brushwork on the ear, the lower part of the nose and upper lip, and the eyes. Emile Verhaeren - 1892 A mix of hard edges and dots here. Jeune fille en vert - c. 1892 Pointillism doesn't always work for hair, either. Anna Bloch in her Studio - c. 1893 By the time he did this portrait, Rysselberghe was resorting to conventional painting for faces and hands. Maria and Elizabeth van Rysselbergh Around 1900, he was using plenty of sharp lines, leaving Pointillism for flat, plain surfaces. Portrait of Mme Demolderlder (detail) - 1902 Closer view of how he was treating faces. Mevrouw Henry van de Velde-Sèthe From the same era: a selective mix of forms and dots. Woman at Her Toilette - 1905 Since this wasn't a commissioned portrait, Rysselberghe could enjoy using much pointillism here, though some lines are strategically used. André Gide - 1908 An example of his brushwork in a more Divisionism mode, though key facial features are drawn, not dabbed. Madame von Bedenhausen avec son enfant Luli - 1910 Pointillism and Divisionism can be seen here, but they are incidental to the depiction. Portrait of Margarethe Kühlmann-Stumm - 1913 This portrait has bright colors, but otherwise is almost conventional. Mrs Schlumberger and her Daughter Luli - 1918 Another near-conventional work, but the coloration gives it an Impressionist feeling even though sharp details are present.

Théo van Rysselberghe 1862-1926 België

Théo van Rysselberghe (1862-1926) was a Post-Impressionist who often painted in a Pointillist style. His Wikipedia entry is here. I wrote about him here, briefly touching on his portrait work. It seems that van Rysselberghe really liked Pointillism and the related Divisionism a lot, never totally abandoning (while watering down) the concepts later in his career when many of his paintings were more conventional. But he had to earn a living and, as for many painters, that required making portraits. So van Rysselberghe often tried to include as much Pointillism as he could in a number of those portraits. The problem is, Pointillism and portraiture do not mix easily. That's because Pointillism in its pure form cannot handle small details and sharp edges, things that portraits traditionally require. So compromises usually had to be made, as the images below indicate. They are presented in roughly chronological order. Gallery Portrait of Alice Sèthe - 1888 An early Pointillist portrait. Mathilde Vereeken - 1891 This features many little colored dots on the subject's face, but van Rysselberghe had to use some conventional brushwork on the ear, the lower part of the nose and upper lip, and the eyes. Emile Verhaeren - 1892 A mix of hard edges and dots here. Jeune fille en vert - c. 1892 Pointillism doesn't always work for hair, either. Anna Bloch in her Studio - c. 1893 By the time he did this portrait, Rysselberghe was resorting to conventional painting for faces and hands. Maria and Elizabeth van Rysselbergh Around 1900, he was using plenty of sharp lines, leaving Pointillism for flat, plain surfaces. Portrait of Mme Demolderlder (detail) - 1902 Closer view of how he was treating faces. Mevrouw Henry van de Velde-Sèthe From the same era: a selective mix of forms and dots. Woman at Her Toilette - 1905 Since this wasn't a commissioned portrait, Rysselberghe could enjoy using much pointillism here, though some lines are strategically used. André Gide - 1908 An example of his brushwork in a more Divisionism mode, though key facial features are drawn, not dabbed. Madame von Bedenhausen avec son enfant Luli - 1910 Pointillism and Divisionism can be seen here, but they are incidental to the depiction. Portrait of Margarethe Kühlmann-Stumm - 1913 This portrait has bright colors, but otherwise is almost conventional. Mrs Schlumberger and her Daughter Luli - 1918 Another near-conventional work, but the coloration gives it an Impressionist feeling even though sharp details are present.

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Van Rysselberghe adopted the pointillist style, creating a composition using countless tiny dots of complementary colours, after seeing the work of Georges Seurat. He formed a close friendship with Seurat's follower, Paul Signac, and in the early 1890s produced a series of deceptively simple, light-filled and densely worked seascapes as van Rysselberghe and Signac travelled and painted together. A distinctive feature of his work is the clusters of white dots sprinkled across the picture surface, as here, which give his paintings an animated, almost dancing quality. The dots also often form swirling decorative patterns, as in this work. [Oil on canvas, 51 x 61 cm] gandalfsgallery.blogspot.com/2012/01/theo-van-rysselbergh...

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Théo Van Rysselberghe’s painting beautifully captures the summertime: a beach at sunset. Step into this scene with us today, and take a moment to rest. Soak in the colors of […]

The finest landscapes, from Marsden Hartley, Pierre Bonnard, Ferdinand Hodler, and others in 1918.

The Arno in Florence ~ Theo van Rysselberghe Garden at Giverny ~ Claude Monet Road to Giverny in Winter ~ Claude Monet The Tree of Life ~ Gustav Klimt Port of La Rochelle ~ Paul Signac От http://theartgeeks.tumblr.com/ Berni Wrightson illustrating Mary Wollstonecraft's Frankenstein ~ late 1970's От…

Théo van Rysselberghe 1862-1926 België

The Arno in Florence ~ Theo van Rysselberghe Garden at Giverny ~ Claude Monet Road to Giverny in Winter ~ Claude Monet The Tree of Life ~ Gustav Klimt Port of La Rochelle ~ Paul Signac От http://theartgeeks.tumblr.com/ Berni Wrightson illustrating Mary Wollstonecraft's Frankenstein ~ late 1970's От…

Madame von Bodenhausen avec son enfant Luli Elisabeth van Rysselberghe In A Straw Hat Elisabeth van Rysselberghe Portrait Of Elizabeth van Rysselberghe Portrait de Madame Van Rysselberghe et sa fil…

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Théo van Rysselberghe 1862-1926 België

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Tutt'Art@ represents an opportunity to knowledge and culture - and for artists, promote and export their artwork all over the world

The Arno in Florence ~ Theo van Rysselberghe Garden at Giverny ~ Claude Monet Road to Giverny in Winter ~ Claude Monet The Tree of Life ~ Gustav Klimt Port of La Rochelle ~ Paul Signac От http://theartgeeks.tumblr.com/ Berni Wrightson illustrating Mary Wollstonecraft's Frankenstein ~ late 1970's От…

Theo Van Rysselberghe - Geboren: Gent Belgie 1862. Overleden: Saint-Clar (Var) Frankrijk 1926. Schilder.