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Dimensions: 29 by 33 1/2 in.
73.6 by 85cm
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Provenance: PROPERTY FROM THE CHARLES PANKOW COLLECTION
Galerie Druet, Paris
H. Kröller-Müller, Amsterdam
L. Scheibler-Müller
Private Collection (sold: Sotheby's, London, December 3, 1985, lot 19)
Acquired at the above sale by the present owner
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Exhibited: Brussels, La libre esthétique, 1908, no. 204
Rotterdam, Rotterdam Kunstkring, Théo Van Rysselberghe, 1909, no. 24
Laren, Netherlands, Larense Kunsthandel, Théo Van Rysselberghe, 1913
Dresden, Kunsthandel Emile Richter, Théo Van Rysselberghe, 1913, no. 26
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Literature: Théo van Rysselberghe letter to O. Maurs, March1908 (possibly)
Henricus P. Bremmer, "Théo van Rysselberghe," Moderne Kunstwerken, no. 7, 1910
M.J. Chartrain-Hebbelinck, "Le groupe des XX et La Libre Esthétique," Revue belge d'Archéologie et d'Histoire de l'Art, XXXIV, 1965, p. 131
Ronald Feltkamp, Théo van Rysselberghe, 1862-1926, Brussels, 2003, no. 1905-001, illustrated p. 349
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Notes: Théo Van Rysselberghe was one of the few followers of Seurat and Signac who fully mastered their chromatic discoveries of applying paint in small dabs of complementary and contrasting color.
La pointe du Rossignol, Cap Layet is an impressive example of the artist's technical command and artistic impression showcasing his mature style. "About 1900, Van Rysselberghe's art relaxed. The colourist had gradually left behind the orthodoxy of neo-impressionism. He was still 'separating,' but in a less methodical manner. His brush-stroke was becoming larger. He was manipulating the brush and matching pure colour tones to each other with a new freedom. He was moving away from the technique of light-painting while preserving its spirit; he seemed no longer to consult anything but his instinct and his senses in the choice of tone and strength of colour, and in the disposition of strokes." (Paul Fierens, Théo Van Rysselberghe, Brussels, 1937, p. 27)
