Henri Martin

Work is in very good condition. Canvas is not lined and has a rich surface impasto. Surface is clean. Under UV light: a few scattered dots of inpainting along top of bridge near center of right edge, otherwise fine.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

In 1900, Martin bought a property in Labastide-du-Vert, a small village North of Cahors near Toulouse. On the thirty acres of land stood a large seventeenth century house and Martin became extremely attached to this property. The acquisition of Marquayrol marked a turning point in Martin's career - he abandoned allegory and myth to fully devote himself to the representation of nature.

As Martin once said, "My preoccupation with rendering atmospheric effects increased later, after three months in the country, face to face with nature. Trying to capture its diverse effects, I was compelled to paint it differently. The natural light, now brilliant, then diffuse, which softened the contours of figures and landscape, powerfully obliged me to translate it any way I could, but other than using a loaded brush, through pointille and the breaking up of tone."

Martin's canvases from this period are characteristically joyous expressions of light, color and texture.  Jac Martin-Ferrières, the artist's son, writes, "Henri Martin was without contest an Impressionist and one who had the deepest sensitiveness, certainly equal to that of Monet, whom he most admired. Their interpretation of nature is certainly, owing to their utmost sensitiveness and not through research of a technical process, a poetical evocation hued by a thousand colors which can undoubtedly be called a work of art" (J. Martin-Ferrières, Henri Martin, Paris, 1967, p. 35).

Ferrières continues, "If I look at a fragment of Henri Martin's canvas... I immediately recognize it.  I see a great number of dots of different colors, as precious and rare as precious stones.  His palette is an enchantment.  Many different interminglings of colors make a rare and rich harmony...  And it is much more difficult to find a good harmony of colors when representing nature than to assemble some nice colors, representing nothing.  In here lies the gift of Impressionists and that is why there are so few" (J. Martin-Ferrières, ibid., p. 42).