Curators at Work - College of William and Mary

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1 8 9 3 henri-eDMonD DelACroix, called henri-eDMonD Cross (French, 1856-1910) Jeune Basque Debout (Young Basque standing upright), ca. 1893 Black crayon and red colored pencil on paper 11 1/2 in. x 7 1/2 in. Purchase, Class of 1982 senior Class Gift 1983.021 8 | Curators at Work
Henri-Edmond Cross (born Delacroix but changed his name so that he would not be confused with Henri-Eugene Delacroix) was born in Douai, France, in 1856 and spent his childhood and youth in Lille. In 1881, he moved to Paris and, in 1891, he first exhibited his large body of Pointillist works under the English pseudonym of Cross. Over time he changed his works from the small dotted technique used by Pointillists to a more broad stroke that is closer to Impressionism. His later brilliant color contrasts and mosaic-like surfaces would influence many artists including Henri Matisse. 1 The work in the Museum collection is from early in his career and is a study for one of his most famous Pointillist paintings. The sketch in the Museum collection is a very good representation of the process used by Cross to create his Pointillist paintings. This drawing is a rare and fascinating example of a figure study drawn from life with careful notes of the color of his clothes. The young man, identified as a Basque, has been quickly sketched first in red crayon, and gone over in black chalk. At lower left, the artist jotted the colors, for example, ‘beret bleu marin’, a ‘blue sailor’s cap’. The work also displays the estate stamp of the artist. The drawing was used as a study for the figure in the painting La Ferme (Matin) of 1893, which is in the Museum of Fine Arts in Nancy, France. In the painting, the subject is present in nearly identical form and uses the color notes found on the sketch. Furthermore, we can see the red used in the final painting in a similar, underlining method as in the work from the Museum collection. La Ferme is considered one of Cross’ most important paintings and was in the collection of the Fauvist master, Henri Matisse. 2 1 Art Institute of Chicago. Three Men, Half-Length (“Trois Hommes en buste”), 1895/1900. Art Institute of Chicago Museum Studies, Vol. 26, No. 1, Maineri to Miró: The Regenstein Collection since 1975 (2000), pp. Rusty Meadows ‘11 86-87+96. http://www.jstor.org/stable/4104445. 2Compin, Isabelle. H. E. Cross. Paris: Quatre Chemins - Editart, 1964. Pages 131-132. 16 Memoranda for 16 Artists | 9
Page 1 and 2: Curators at Work 16 Memoranda for t
Page 3: 16 Memoranda for 16 artists The wor
Page 6 and 7: 1 8 0 5 Attributed to Gilles-louis
Page 10 and 11: 1 9 0 9 Arthur B. DAvies (American,
Page 12 and 13: 1 9 2 3 Attilio PiCCirilli (America
Page 14 and 15: 1 9 2 9 BlAnChe lAzzell (American,
Page 16 and 17: 1 9 3 7 thoMAs hArt Benton (America
Page 18 and 19: 1 9 4 5 MAx WeBer (American, 1881-1
Page 20 and 21: 1 9 5 3 MArino MArini (italian, 190
Page 22 and 23: 1 9 6 4 MAn rAY (American, 1890-197
Page 24 and 25: 1 9 6 9 PABlo PiCAsso (spanish, 188
Page 26 and 27: 1 9 7 2 ClAes olDenBurG (American,
Page 28 and 29: 1 9 7 4 JiM Dine (American, b. 1935
Page 30 and 31: 1 9 7 8 JAsPer Johns (American, b.
Page 32 and 33: 1 9 8 8 DonAlD K. sultAn (American,
Page 34 and 35: 1 9 8 8 WAYne thieBAuD (American, b
Page 36 and 37: 2 0 0 3 JAune QuiCK-to-see sMith (n
Page 38 and 39: 2 0 0 3 JAune QuiCK-to-see sMith (n

Curators at Work - College of William and Mary

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