EVENEPOEL, Henri - b. 1872 Nice., d. 1899 Paris - WGA

EVENEPOEL, Henri

(b. 1872 Nice., d. 1899 Paris)

Belgian painter and printmaker. His mother died when he was two, and he was brought up by his severe but cultivated father, a senior civil servant and musicologist. He studied in Brussels under the architect Ernest Acker (1852-1912) at the Académie des Beaux-Arts (1889-90), the painter Ernest Blanc-Garin (1843-1916) and the decorative painter Adolphe Crespin (1859-1944), then entered the Ecole des Beaux-Arts in Paris on 21 October 1892 as a pupil of Pierre Victor. Galland. Galland died in November 1892, and Evenepoel was admitted to Gustave Moreau’s atelier on 14 March 1893. There he came into contact with Georges Rouault and became friendly with Henri Matisse. For more than four years Evenepoel was very close to Moreau, a demanding teacher who appreciated his sensitivity and determination and encouraged him to develop a distinct artistic personality.

In 1894 Evenepoel left Paris to work independently without a teacher. In 1897 he stayed in Algeria. In 1899 he decided to return to Belgium, however, he died in Paris of typhoid fever.

Evenepoel worked only five years as an artist and was strongly influenced by Whistler and Manet, yet his work retains its own individual character.

At the Moulin Rouge
At the Moulin Rouge by

At the Moulin Rouge

Evenepoel’s scenes of contemporary Parisian life were particularly influenced by Jean-Louis Forain and Henri de Toulouse-Lautrec.

Au square (To the Square)
Au square (To the Square) by

Au square (To the Square)

This lithograph depicts a standing woman moving to the right, wearing a green hat, striped blouse in blue and white, striped skirt in yellow and red, holding a red umbrella in her left hand, holding a small girl on the left by the hand. The girl is looking down, wearing a pink cap with red dots and a yellow dress, holding a red bucket in her left hand, against a neutral background, with a green framing line.

The picture shows a plate from “L’Estampe Moderne” (no. 7, November 1897). It is a charmingly pretty variant of Benelux Art Nouveau by Henri Evenepoel, whose posters combine the extreme detail of Japanese art with French motifs.

Henriette with Large Hat
Henriette with Large Hat by

Henriette with Large Hat

Evenepoel’s favourite subjects were his family and friends, whom he painted with tenderness and insight. His full-length portraits, usually simply posed against a neutral background, owe much to the example of Edouard Manet and James McNeill Whistler.

In the Café d'Harcourt in Paris
In the Café d'Harcourt in Paris by

In the Café d'Harcourt in Paris

Evenepoel’s scenes of contemporary Parisian life were particularly influenced by Jean-Louis Forain and Henri de Toulouse-Lautrec.

Sunday in the Bois de Boulogne
Sunday in the Bois de Boulogne by

Sunday in the Bois de Boulogne

In this unusual composition, the Sunday walkers in the Bois de Boulogne seem to be walking out of the canvas to right and left, at different speed, as in a snapshot. The left edge of the picture is audaciously cropped, and left of the centre there is an empty space that seems to be pushing the actual movement out to the sides. Compositionally, this highly idiosyncratic picture recalls Toulouse-Lautrec.

Veterans' Festival
Veterans' Festival by

Veterans' Festival

In the late 1890s - his most productive period, brought to an abrupt end by the artist’s early death - Evenepoel painted portraits, street scenes and interiors. The present painting shows his highly personal brand of Impressionism, and demonstrate his flair for unusual composition.

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