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©
Museo Nacional Thyssen-Bornemisza, Madrid
Henri Lebasque

Two Fishermen in a Boat on the Marn

1903
Oil on canvas.
60.5 x 73 cm
Carmen Thyssen Collection
Inv. no. (
CTB.1994.9
)
Not on display
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 Temporary exhibition rooms: Guardi and Venice in the Collection of the Gulbenkian Museum 14 Temporary exhibition rooms: Guardi and Venice in the Collection of the Gulbenkian Museum 15 Temporary exhibition rooms: Guardi and Venice in the Collection of the Gulbenkian Museum 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Temporary exhibition rooms 54 Temporary exhibition rooms 55 Temporary exhibition rooms 56 Temporary exhibition rooms Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop

Henri Lebasque was born in 1865 in Champigné. After attending secondary school in Angers, he enrolled at the École des Beaux Arts in the same town, as his passion for art began to show very early on. In 1885, at the age of twenty, he was declared unfit for service due to his rheumatism, which he suffered all his life, and moved to Paris. While attending Bonnat's classes, he earned a living working as a decorator, which he found rather tedious. However, he was always good-humoured, as his inner joy never left him.

In 1893 he met Luce and Signac at the Salon des Indépendants. Divisionism had just appeared and, like Cross and Van Rysselberghe, Lebasque could not totally escape the influence of Seurat's technique.

But very soon Lebasque abandoned this school whose limits were too narrow and restrictive for an artist who liked above all to show in his paintings his own vision of nature.

Similarly, his friendship with the Fauves and with Manguin never prevailed over his slightly introvert, but also tenacious, personality.

Married and with children, Lebasque moved to the east of Paris in 1900 and remained there until 1906; he took up residence first in Pierrefonds and Montévrain, where the neo-Impressionists met up. Lebasque was using some Pointillism when he moved with his family to Lagny, on the banks of the Marne, where he stayed for about five years. This was one of the most fruitful periods of his life.

There, still under the influence of Impressionism, he was overcome by the joy of painting outside; his pictures already reflected his joie de vivre. His landscapes, bright or delicately coloured, are full of freshness, while at the same time they convey the soft light of the Île-de-France. In the Marne valley he found a myriad of simple and pretty landscapes and a river running quietly between grassy verges, often lined with trees; the light is slightly filtered, almost damp, and gives his paintings a charming delicacy. In the area of Lagny Lebasque had also met Pissarro, and his luminosity influenced him more than the remembrance of Bonnat's teaching.

Here, the artist led a simple life, contemplating nature and its changes with the passing of hours and days. In such quiet surroundings, his talent gradually developed and asserted itself. It was during these laborious years that Lebasque painted many times the banks of the Marne, under a sky tinted with subtle hues, in which he expressed the deep emotions conveyed by the delicate light of the Île-de-France, which reminds us of Sisley's paintings. The rustling trees, whose branches filter the light, frame the scenery with bright meadows spreading in perspective.

Nobody has summed up better Lebasque and his art than Louis Vauxcelles in the catalogue of the exhibition held at the Galerie Pétridès in 1938: "Lebasque was as intelligent as he was sensitive, impulsive, with his own personal culture, and he never ceased to reflect upon the principles and conditions of his art. Technique, the study of form, the concern for balance and rhythm obsessed him. Nevertheless, he had kept the divine gift of childhood, marvelling at the vast spectacle of Nature, and he knew that, according to Nietzsche's words, for a poet, "to say no to nature is madness." He painted as a bird sings, when it sings well-a smooth and expressive drawing, elegance of lines, freshness and haziness, transparency of shadows [...]"

But Lebasque soon grew tired of systematic, monotonous, impersonal Pointillism, as fantasy and the painter's own temperament did not counterbalance the strictness of the theory.

It was precisely before the views of the banks of the Marne at Montévrain and at Lagny, contemplating the wide and quiet landscapes through which runs the shimmering river bordered with meadows that, in 1903, Lebasque painted Two Fishermen in a Boat on the Marne, in which he reveals his full spontaneity.

Deep inside, Lebasque was a landscape painter, but not just that; he was too sensitive for his paintings to be "uninhabited." This view of the Marne could not do without the presence of a boat with two fishermen.

In Lebasque, quietness and serenity do not exclude life, but it is set in nature, and is as if framed by it. The village and its bell tower are there, in the background, bearing witness to the perfect communion between Nature and its inhabitants.

Denise Bazetoux

20th Century19th Century - French paintingPaintingOilcanvas
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Two Fishermen in a Boat on the Marn. 1903
Two Fishermen in a Boat on the Marn
Henri Lebasque

©

Museo Nacional Thyssen-Bornemisza, Madrid

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Two Fishermen in a Boat on the Marn. 1903
Two Fishermen in a Boat on the Marn
Henri Lebasque

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Museo Nacional Thyssen-Bornemisza, Madrid

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