Valerius De Saedeleer

(1867-1941)

Pear tree in spring

Circa 1925
Oil on canvas
85 x 95 cm (33¹/₂ x 37³/₈ inches)
Signed lower left: Valerius de Saedeleer

 

Signed lower left: Valerius de Saedeleer

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Literature
- Boyens, P. Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (Tielt/Sint-Martens-Latem: Lannoo/Art Book Company, 1992), 231, 591, no. 32 (ill.).
- Van Kerkhoven, G., De Vlaamse Ardennen in de voetsporen van Valerius de Saedeleer, cat. (Oudenaarde: Stad Oudenaarde, 1998).
- Boyens, P. & V. Van Doorne, Valerius De Saedeleer. De tuin der afwezigen, cat. (Tielt/Deinze: Lannoo/MuDeL, 2006), 119, 189, no. 76 (ill.). 
- Van der Giessen, B., A. van Lienden & M. Windhausen (red.), Valerius de Saedeleer, Gustave Van de Woestyne. Bevriende meesterschilders, cat. (Spanbroek: Scheringa museum voor realisme, 2008), 2, 33, 35, 92, no. 15 (ill.).
- Bourdeaudhui, J., Valerius De Saedeleer (Maarkedal: Heemkundige Kring, 2014), 230-231, no. 11.80 en 11.82 (ill.).
- Pauwels, P.J.H., Als een fonkelenden spiegel (Sint-Martens-Latem: Galerie Oscar De Vos, 2019), 207 (ill.).
Exhibitions
- 1998, Oudenaarde, Town Hall, De Vlaamse Ardennen in de voetsporen van Valerius De Saedeleer, 03.07-25.10.1998.
- 2006, Deinze, MuDeL, Valerius De Saedeleer. De tuin der afwezigen, 23.09-26.11.2006, cat.no. 76 (ill.).
- 2008, Spanbroek, Scheringa Museum voor Realisme, Bevriende Meesterschilders Valerius De Saedeleer en Gustave Van de Woestyne, 19.10.2008-01.02.2009, cat.no. 16 (ill.).
Provenance
- Private collection, West Flanders
Description
From the early 1920s, Valerius De Saedeleer gained more attention for lavish, whimsical calligraphy. His paintings show the wedge-shaped meadow that extends in front of his house "Villa Tynlon" in Etikhove. This name of his residence in Etikhove refers to his exile in Wales. With this work, the artist broke through the panoramic view from the Bossenaersheuvel with a pear tree and a row of trees in the foreground. It is a typical view of an orchard, with a wealth of velvety wavy green and yellow tones, warm and fluffy of tonality as only De Saedeleer could depict. The use of color shows the artist as a refined colorist and sublimates the rural atmosphere. To the right of the bend of a descending hollow road is a farm as a hinge in the composition. The whiteness blossoms as a 'wonder accent' of tenderness between a range of green nuances. However, the canvas is painted with a Japanese eye for details. The emphasis is on the panoramic view, towards the village of Etikhove on the far right, and towards Nukerke on the back plan on the left. Only the landscape and the buildings are of importance, graphically crisscrossed by the jagged lines of trees appearing haphazardly. According to this, he tried and tested the mise-en-page: a wedge-shaped front plan, the row of trees along the hollow road on the right and the small white farm in the middle. More pure than his distant predecessor Bruegel, for whom the social aspect of his art is paramount, De Saedeleer knows how to penetrate the soul of his Flemish country.
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Pear tree in spring