Exhibition"Sezession" Ausstellungshaus Kurfürstendam, Berlin 1910
"XXXIe salon de l'oeuvre des artistes consacré aux figures et personnages" Salle de la société d'émulation, Luik 1910
Museum van Batavia, Jakarta 1935
Stedelijk Van Abbemuseum, Eindhoven 1947-48, nr. 114 reprod.
Stedelijk Museum & Amsterdams Historisch Museum, s.d., nr. 55
"Moderne Belgische kunst in Nederlands Bezit" Lakenhal, Leiden 1955, nr. 57
"Hommage to Seurat. Paintings, watercolours and drawings" Univ. of Arizona Art Gal., Tucson; The California Palace of the Legion of Honor, San Francisco 1968
"Holliday Collection of Neo-Impressionist Painting" Utah Museum of Fine Arts, Salt Lake City 1969
Literature"A l'oeuvre des artistes - Figures et personnages" P.S., L'express, Luik 30th of May 1910
"Catalogus van schilderijen, tekeningen en beeldhouwwerken in het Stedelijk Museum behorend aan en in bruikleen bij de gemeente Amsterdam" Stadsdrukkerij, Amsterdam 1924, nr. 119, pl. 58
G. Van Zype, nota "TVR" in "Annuaire de l'Académie Royale de Belgique" Brussels 1932
"De Waarheid" Amsterdam 30th of april 1948
"Les néo-impressionnistes" J. Sutter, Bibliothèque des Arts, Paris & Ed. Ides et Calendes, Neuchâtel 1970, p. 208 reprod.
"Théo Van Rysselberghe. Catalogue raisonné" Ronald Feltkamp, Brussels 2003, nr. 1908-001, p. 100 & 371 reprod. & reprod. on the cover
To be included in the catalogue raisonné in preparation by Mr. Olivier Bertrand
Provenancecoll. P.A. Regnault, Amsterdam
coll. W.J. Holliday, Indianapolis
coll. E. Hanley, Pennsylvania
coll. E. Molnar
coll. Michael Mc Kittrick
FOU DE PEINTURE
As a member of the Belgian avant-garde movement Les Vingt and as a pioneer of pointillism in Belgium today, Théo Van Rysselberghe (1862-1926) has great international appeal. He harbored great preference for portrait painting despite the diversity of genres within his oeuvre. The numerous portraits by his hand embodies his inner urge to interpret and represent man. In the preface of Van Rysselberghe's 1927 posthumous exhibition at Galerie Georges Giroux, his artistic friend Maurice Denis (1870-1943) wrote: "What happens behind a face interests him more than he dared to admit. He talked about volumes, color, composition, somewhat to conceal his unrest about character and psychological resemblance. Théo has only painted so many portraits, because he was driven by a curiosity of another order, by the search for man."
We consider the first decade of the twentieth century being Van Rysselberghe's golden age, when he ventures into more daring subjects such as sun-drenched landscapes, sunsets and nudes in front of the mirror, as in "Le collier rose". The summit of his creative yearning is in the years 1907-08, when he spends the summer in Jersey. To Marie Closset (1873-1953), the poet who also modeled the painting "La promenade", he even wrote: « Mais que ne fais-je, aussi! Je suis fou de peinture, j'en fais autant que je peux, et je me porte bien, Allah soit Loué. »
The pointillist technique he had used for so many years became more and more relaxed during this period. He applied vivid colors, intense contrasts and longer brush strokes, of which "Le collier rose" is an example. He repeated the subject several times playing with the image of the same woman in similar poses.
One leg in the Belgian avant-garde and another in French neo-impressionism, Van Rysselberghe succeeded in bringing together a subtle combination of Flemish and French elements. As Maurice Denis aptly concluded, Van Rysselberghe painted: "without being disturbed, without deception, without pride, sensitive and methodical".