Stanislas Victor Edouard Lepine

Essay:

Lépine exhibited, amongst illustrious company, in the first Impressionist exhibition, held in the gallery of the famous photographer Nadar in 1874. He can be regarded as one of the precursors to Impressionism. His debt to Jongkind, whom he held in high regard, and to Corot, who was to be his teacher during the 1860s, was evident throughout his life.

He came to painting late in life and was of humble origin. Only at the age of 18 did he decide to devote himself to painting and, having saved enough to buy paint and brushes, he taught himself by copying the masterpieces in the Louvre. Once his talent was recognised, he began to develop the important artistic connections that helped him on his way. His initial meetings with Adolphe-Félix Cals and Théodule Ribot led to long friendships.

In 1859 he made his Paris Salon debut with a number of paintings of Caen and that same year he moved into a residence in Montmartre. The streets of Paris, the River Seine and Montmartre were to prove great influences on his paintings and he looked to them for his inspiration. Corot's mark is especially evident in these paintings.

Lépine, who was a quiet and modest man, was not successful financially and he struggled to make ends meet despite the fact that he was exhibiting regularly at the Salon. He eschewed the regular watering holes of his fellow artists and kept to himself. However, in an attempt to improve his financial situation, he started to work with the dealer Pierre-Firmin Martin who sold the work of Corot, Millet and Cals. Martin introduced Lépine to Count Armand Doria who became an important patron. Nevertheless, he still struggled and despite a further arrangement with Paul Durand-Ruel he was forced to organize a number of auctions at the Hotel Drouot. Interestingly his works fetched more than those of Monet, Renoir, Sisley and Morisot in a similar auction run by Monet.

The quiet and unassuming Lépine, whose subject matter and style were so reminiscent of Corot, finally achieved recognition when he was awarded two first class medals and a further third class medal in the 1889 Salon. Well-deserved as this success was, it came too late and Lépine died in 1892, penniless and almost totally paralysed, having won a medal at the Madrid Salon the year before.

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According to Schmit (see literature) there are two other versions of this work by Lepine, one of which was sold at auction (Christie's, New York, 26 Oct 2005) for $26,400. The two other verisions are both painted on panel and almost half the size of the present picture. The compositions remain the same other than minor differences in the figures.

The present version has been signed with the studio stamp. Lugt writes that after Lépine's death his wife, who was destitute and needed to raise money, stamped the remaining works in his studio with this mark and sold them piecemeal (see F. Lugt, Les Marques de Collection de Dessins & d'Estampes... Supplement, Le Haye, 1956, pp. 230-1).

In the 1900 Drouot sale catalogue our picture is described as a snowy scene, which is not immediately obvious. If the artist did indeed represent fallen snow there must only be a light dusting for the little girl to be able to roll her hoop. Families, porters and workmen occupy the street. On the left a crossing sweeper works and behind him is a tramway station with the tram drawn by two white horses.

Provenance:

Sale of the Collection of Baron Blanquet de Fulde, Drouot, Paris, 12 March 1900, lot 47 (for 1800 francs).
Christie's, 22 June 2005, Lot 113.
Private Collection, Berlin.

Literature:

R. Schmit, 'Stanislas Lépine 1835-1892 Catalogue raisonné de l’œuvre peint', Paris, 1993, p. 72, no. 175 (not illustrated).