Pine-Tree near the Mediterranean Sea at Sunset (1915)

Technique: Giclée quality print
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More about this artwork

Theo van Rysselberghe's painting, "Pine-Tree near the Mediterranean Sea at Sunset" (1915), captures an enchanting Mediterranean landscape bathed in the warm glow of a setting sun. An exemplar of the Pointillist technique, this artwork vividly demonstrates van Rysselberghe’s mastery in playing with light and color to evoke mood and atmosphere.At the center of this vibrant composition stands a solitary pine tree, its form defined by small, precise brushstrokes that contrast with the softly melding colors of the sky and sea. The tree is silhouetted against a sky ablaze with shades of pink, orange, and purple, suggesting the serene yet fleeting moments of sunset. Below, the calm sea extends into the horizon, its surface broken by gentle waves and reflected colors that suggest the vast, tranquil expanse of the Mediterranean.The foreground of rocky terrain, dotted with shrubs and smaller trees, leads the viewer's eye towards the pine, anchoring the scene with earthier tones of brown and green interspersed with blue and white highlights. These rugged elements underline the enduring beauty of the natural landscape, standing in contrast to the ephemeral qualities of the sky and water.Van Rysselberghe’s use of Pointillism is not merely a stylistic choice but a means to intensify the visual impact of natural light, reflecting its variegated interplay with the elements of the scene. Each dot and stroke serves as a testament to the artist’s dedication to capturing the essence of his environment, transforming a simple coastal view into a dynamic and immersive sensory experience.

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Théophile "Théo" van Rysselberghe was a Belgian neo-impressionist painter, who played a pivotal role in the European art scene at the turn of the twentieth century.

Born in Ghent to a French-speaking bourgeois family, he studied first at the Academy of Ghent under Theo Canneel and from 1879 at the Académie Royale des Beaux-Arts in Brussels under the directorship of Jean-François Portaels.