Henri Le Sidaner was born in 1862 in Port-Louis, Mauritius, then grew up in Dunkirk. First trained by Alexandre Desmit, he entered Paris into the studio of Alexandre Cabanel and exhibited at the Salon from 1887. Very early on, he moved away from the major academic subject to seek a more interior painting. In Étaples, on the Opal Coast, he observed fishermen, dunes and damp lights; the human figure still remains visible, but gradually blends into the atmosphere. In Étaples, on the Opal Coast, he observed fishermen, dunes and damp lights; the human figure still remains visible, but gradually blends into the atmosphere. In Étaples, on the Opal Coast, he observed fishermen, dunes and damp lights; the human figure still remains visible, but gradually blends into the atmosphere. In Étaples, on the Opal Coast, he observed fishermen, dunes and damp lights; the human figure still remains visible, but gradually blends into the atmosphere. Bruges, Venice, London, Versailles and Villefranche-sur-Mer then expanded its repertoire of canals, facades and silent squares. The decisive turning point came from Gerberoy, a village in the Oise discovered at the beginning of the 20th century century. The Sidaner restores a house there and shapes a garden which becomes at the same time workshop, decor and living work. Roses, terraces, ponds and set tables appear at a time when the day is fading. The characters are often absent; a chair, a lamp or two glasses are nevertheless enough to announce a recent presence. The table on the flower garden at dusk condenses this art of waiting: the divided touch makes the flowers and the sky vibrate, while the objects establish an almost narrative intimacy. In The Serenade, Venice, architecture, water and suggested music compose a nocturnal without spectacle. In The Serenade, Venice, architecture, water and suggested music compose a nocturnal without spectacle. In The Serenade, Venice, architecture, water and two glasses condense this art of waiting: the table on the flower garden at dusk condenses this art of waiting: the divided touch makes the flowers and the sky vibrate, while the objects establish an almost narrative intimacy. The table on the flower garden at dusk condenses this art of waiting: the divided touch makes the flowers and the sky vibrate, while the objects establish an almost narrative intimacy. The table on the flower garden at dusk condenses this art of waiting: the divided touch makes the flowers and the sky vibrate, while the objects establish sensitivity, made of close tones and dissolved contours. Attached to the intimate and sometimes to symbolism, Le Sidaner remains independent: he borrows from post-impressionism the vibration of the touch without abandoning the readability of the place. Elected to the Academy of Fine Arts in 1930, he died in Paris in 1939, leaving a work where silence becomes light. Elected to the Academy of Fine Arts in 1930, he died in Paris in 1939, leaving a work where silence becomes light. The selection "Henri Le Sidaner" notably compares La Sérénade, Venise and La table sur le jardin fleur at dusk, Gerberoy. His reading favors drawing.
The Sidaner paints absence less than the moment when a presence has just left the table: the light, the flowers and the objects silently continue the conversation.
