Henri-Edmond Cross, a key figure in the transition from Impressionism to the vibrant world of early modernism, left an indelible mark on the art world despite a relatively small oeuvre.
As a foremost practitioner of Neo-Impressionism, Cross’s artistic journey evolved from early academic realism to a distinctive style characterized by dazzling color and abstracted forms.
His innovative techniques and utopian ideals significantly influenced subsequent movements like Fauvism. This blog post delves into six important artworks that illuminate the trajectory and brilliance of Henri-Edmond Cross.
1. Self-Portrait (1880): A Young Artist Finding His Voice
Painted at the age of 24, shortly after completing his formal studies, Self-Portrait offers a glimpse into Cross’s early artistic inclinations.
This tightly cropped depiction of the artist smoking a cigarette reveals his academic training alongside an introduction to French Realism.
The traditional pose, muted colors contrasted with light patches, and expressive brushstrokes align with the academic standards of the time.
Notably, the inclusion of the cigarette pays homage to the Realist and anarchist Gustave Courbet, hinting at Cross’s own burgeoning leftist sympathies and foreshadowing his involvement with avant-garde circles.
While influenced by Dutch Masters like Rubens and van Dyck, the visible handling of the brush suggests this work was likely not intended for the formal Salon, indicating an early inclination towards experimentation.
Self-Portrait signifies the beginning of Cross’s lifelong journey of absorbing and transforming his influences.
2. Women Tying the Vine (1889-90): Embracing Light and Rural Harmony
Begun in 1889, Women Tying the Vine marks a shift towards a brighter palette and an engagement with Impressionism.
This idealistic portrayal of peasants working in a Provençal field reflects the influence of the Naturalist painter Jules Bastien-Lepage, particularly in its rural subject matter.
However, Cross moves beyond detailed representation with looser brushstrokes and heightened color, demonstrating his growing interest in capturing the effects of light, a hallmark of Impressionism.
The influence of Camille Pissarro is evident in both style and theme, as both artists shared a desire to depict a noble portrayal of simple peasant life.
This artwork also reflects Cross’s anarcho-communist beliefs, portraying a harmonious coexistence between people and nature in a rural setting, far removed from urban life.
Although predating his full embrace of Divisionism, the juxtaposition of color hues hints at his absorption of Neo-Impressionist theories, particularly those of Georges Seurat.
3. Madame Hector France (1891): A First Step into Pointillism
Madame Hector France, a full-length portrait of Irma Clare (Cross’s future wife), is significant as Cross’s first foray into the Pointillist technique pioneered by Georges Seurat.
Painted when Irma Clare was the mistress of the author Hector France, the elaborate backdrop may allude to his Orientalist writings, a common practice in society portraits of the era.
However, the most striking aspect for Cross’s contemporaries would have been his adoption of the Pointillist ‘dot’.
By the early 1890s, Neo-Impressionist practitioners like Paul Signac were utilizing Pointillism for its decorative and poetic potential rather than solely for objectively capturing light.
This likely appealed to Cross’s desire for individual expression. He uses Pointillism to create a dreamlike atmosphere, characterized by what critic Robert Rosenblum described as a “granular, atmospheric glow”.
The magnificent color transitions further this sense of otherworldliness, earning praise from Signac for its imaginative decorative qualities. This portrait marks a crucial turning point in Cross’s stylistic development.
4. Evening Air (c. 1893): Harmony in a Coastal Landscape
Evening Air exemplifies Cross’s mature Neo-Impressionist style, moving away from the strict dots of Pointillism towards larger, more expressive brushstrokes.
This painting depicts women leisurely enjoying themselves in an idyllic coastal landscape, evoking a mood of tranquility through dreamlike imagery and a subtly applied chromatic scale.
The sculptural repose of the figures and the stillness of the boats contribute to a sense of grandeur and permanence, minimizing any suggestion of movement.
Cross employs the Neo-Impressionist technique to emphasize the flatness of the canvas, integrating the figures harmoniously into their environment, reflecting a peaceful coexistence between humanity and nature.
The larger brushstrokes, a development embraced by Neo-Impressionists like Signac for their potential for personal creativity, allow for richer, more autonomous color application, treating color as an independent entity.
Evening Air is considered one of Cross’s most important works, initially conceived as a “decorative monument” to the Midi region of France in response to a challenge from Signac.
Its utopian Arcadian imagery, abundance of light and water, can be interpreted as a reference to an ideal anarcho-communist future, although Cross’s more ambiguous Classical motifs also suggest a personal nostalgia for a mythical Golden Age.
Notably, Henri Matisse saw this painting in 1904 and emulated its harmonious imagery in his influential work Luxe, Calme et Volupté.
5. Landscape (c. 1904): Capturing Nature’s Transience in Watercolor
Source: wallpapermural.com
Landscape offers insight into Cross’s adaptation of his distinctive style to the medium of watercolor.
Depicting a path through a wooded area with indistinct figures, this work showcases looser, more “Impressionistic” brushstrokes compared to his oil paintings, conveying a sense of spontaneity.
Watercolor became important to Cross as a medium that allowed him to quickly capture the fleeting effects of nature. The visible parts of the paper enhance the feeling of intense sunlight.
As he noted in a letter, working with watercolor provided a “benevolent fever” of speed and boldness, offering a refreshing contrast to the more deliberate process of oil painting.
Landscape demonstrates Cross’s versatility and his ongoing exploration of different techniques to capture the essence of his observations.
6. The Flight of the Nymphs (c. 1906): Myth and the Mature Brushstroke
Painted in the final decade of his life, The Flight of the Nymphs reveals Cross’s continued stylistic evolution and his exploration of mythological themes.
The painting depicts three nude women in a woodland clearing with a concealed male figure, possibly alluding to Stéphane Mallarmé’s poem “L’après-midi d’un faune”. The lyrical presentation of the female forms and the melodious use of color align with Cross’s desire to “paint in verses”.
Around this time, Cross and Signac began using oblong brushstrokes, creating a more mosaic-like structure. This new technique allowed Cross to differentiate figures from their surroundings, giving greater prominence to the nude, a subject of growing interest for him.
The inclusion of dark patches to create shadow effects enhances the volume and three-dimensionality of the figures.
Cross’s focus on the nude and the depiction of revelry also reflect a growing admiration for the philosophy of Friedrich Nietzsche.
Whether interpreted as fleeing a faun or celebrating nature, The Flight of the Nymphs showcases Cross’s ability to evoke poetic resonances through seemingly simple imagery, marking a fitting culmination of his artistic explorations.
