Framed: 26 1/2 x 30 3/4 inches
Paul-Emile Lecomte was lucky enough to have a full-time art teacher in his father, the landscape artist. He then went on to further develop his talent at l'Ecole des Beaux-Arts in Paris. Taught by Fernand Cormon, a history and portrait artist, Lecomte continued to develop his technique and style. As was typical of many artists at the turn of the century Lecomte combined the more formal training he received at l'Ecole with the new ideas of the Impressionists. While his works display an ordered composition, they are created with thick applications of paint and fluid brushstrokes.
Lecomte made his official debut at the Paris Salon in 1902 with his work La Gréve du Mont Saint-Michel vue d'Avranches and he would continue to exhibit there throughout his lifetime. Among the other works he exhibited are: Coin du port à La Rochelle (1912); L'entrée du port à La Rochelle (1913); La grand'route (1923); Venise, Traghetto della Dogana (1925); Thonniers au port (1927); and Le Marché du Mercredi à Melun (1933).
His work was highly regarded by both the public and his fellow artists, and he was awarded the silver medal for his works that were exhibited at the Salon in 1920 and the gold medal in 1922. Lecomte passed away in Paris in 1950.
As was typical of many artists at the turn of the century Lecomte combined the more formal training he received with the new ideas of the Impressionists. While his works display an ordered composition, they are created with thick applications of paint and fluid brushstrokes. He uses this style in Intimate Interior where he strays away from painting typical commercial scenes and paints a woman at a writing desk. The palette in the bottom left corner combined with all the paintings hung on the wall lets us infer that in bohemian fashion, this is being painted in the artist’s studio and/or apartment. Lecomte placed the women facing the wall like she is writing a letter. By displaying only her neck, he leaves the viewer with several questions surrounding the identity of the women. Lecomte’s exquisite skill is demonstrated in how unlike in many other painters, he does not do touch ups with this work, and all the original strokes are in place. Also, the canopy above the bed, like the women’s shall is done with such talent that is clear why Lecomte was known throughout France during his career.