勒邁耶

Christie's Singapore, October 6, 1996, Lot 218

The work is in good condition overall, as is the canvas. There is evidence of minor wear and handling along the margins, but painting layers and impastos are well-preserved. There are soft and stable craquelures on the right figure's back, which is only apparent upon close observation. Examination under the ultraviolet light shows no indication of restoration. This work is accompanied with the artist's original frame.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

他通常以不同的觀點去呈現印象中的女性。站立的身體因高舉的雙臂顯得修長，一邊的肩膀搭著披肩，又或用一臂支撐著上身斜坐著，側影在洋傘的庇護下蒙上一層薄如紗的影子—這些姿態不斷地在他的作品裡重現。構圖方面人物被分成幾個小組，人物之間並沒有互動溝通的跡象。畫家以旁觀者的身份觀察情境，而各種細節如花朵和草葉等因此變得更重要。畫家巧妙地運用了強烈的色彩和波光粼粼的燈光效果作為畫面的主要原動力。儘管他的作品描述著峇里的日常生活，由於與首屈一指的後印象派藝術家之交情影響，他傾向使用柔和樸實的色調，包括黃色、棕色、米色和淡藍色來跟紅色、粉色、橘色和紫色形成對比。此對比會讓構圖有著相當具衝擊性的動態張力。

喬布·烏本斯和卡汀嘉·維錚，《1880-1958 勒邁耶：藝術家旅人》，阿爾堡，127頁