30

Leonard Sarluis
(French, 1874-1949)

"Muse Meditative", 1925

oil on canvas
signed and dated lower right.
Presented in an antique hand-carved, painted and gilded Renaissance-style frame.
16-3/4" x 13-1/4", framed 30" x 24"

Notes: Leonard Sarluis (b. Salomon-Leon Sarluis), a prolific artist associated with the French symbolist movement, exhibited at the Salon de la Rose Croix and Salon des Artistes Français, as well as numerous galleries in Paris and London, including Bernheim Jeune and Grafton Gallery. Born into a Jewish-Dutch family in 1874, Sarluis entered the Royal Academy of Art in the Hague at the age of seventeen, and changed his name shortly thereafter to Leonard in homage to his Renaissance idol, Leonardo da Vinci. Two years later he moved to Paris. As a talented, attractive and openly homosexual man, he was immediately accepted into the avant-garde literary and artistic circles of Oscar Wilde, Jean Lorrain, Emile Verhaeren, Puvis de Chavannes and Gustave Moreau's pupil Armand Point, who invited him to exhibit with the Salon de Rose Croix- a fraternal esoteric, religious sect for symbolist artist led by the eccentric Josephin Peladin. Sarluis embraced symbolist tenets in his art: he rejected secular outlooks and scientific theories-namely Impressionists and Post-Impressionists study of optics and plein-air observations, preferring instead to examine color from a personal emotive and spiritual perspective. Likewise, the symbolists preferred religious and allegorical/mythological subject matter over the natural world.

While Sarluis' subject matter is distinctly symbolist, his execution represents an interesting mix of Italian Renaissance and Pre-Raphaelite styles rendered with the sensitivity and psychological depth of 17th century Dutch masters. Sarluis was drawn to the Pre-Raphaelites' ethereal depiction of women captured in wondrous colors of Quattrocento Italian art created through the application of thin glazes of pigment over a wet white ground that Hunt and Millais developed. The thin glazes, coupled with the heavy use of chiaroscuro in the lower foreground and background and use of sfumato-the soft, hazy blending of the woman's features, recalls Da Vinci's "Mona Lisa" and two paintings of the "Madonna of the Yarwinder." The darker palette, elongated arc of the hand that eclipses the size of the sitter's face, down cast eyes and the swirling green orb that surrounds her head bespeaks of a meditative vulnerability more characteristic of Northern European painting.

In 1925, the same year this painting was executed, Leonard Sarluis held a solo exhibition at Galerie d'Art du Journal in Paris, which feature many of his elegant Renaissance-inspired meditative busts of women-of which this one may have been included. The review and forward to the "Exhibition Sarluis" written by Gaston de Pawlowski brilliantly captures the bravura of both this work and Sarluis' women. "He has patiently prepared this glorious feat. This incredibly triumph, this worthy reward of an admirable career of which it appears to be the crowning achievement…. Vinci! Raphael! One will evoke these names in contemplating certain of Sarluis' heads of women.…but what strange modernism, what fathomless mystery in these heads whose fame will only grow through the centuries."

Reference: L'Homme Libre. 13 February 1925. p. 2


  • Condition: **In generally very good restored condition. Surface dirt, toning of the varnish layer, small areas of craquelure patterns in center and lower center (shoulder, hand and dress), a few small areas of inpainting upper center (nose). Upper center hair appears to be enhanced along the edges. Signs of inpainting mid and lower right and left (in background). Beautiful antique frame with surface marks, nicks and abrasions.

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