Young Woman in a Garden of Oranges

A meticulous realist with a penchant for the poetic, this French painter bridged the 19th and 20th centuries by blending academic precision with haunting emotional depth. Trained under Alexandre Cabanel and Jean-Léon Gérôme, his early work adhered to classical traditions, yet he soon became fascinated by rural life and the supernatural, themes he rendered with uncanny luminosity. His *Breton Women at a Pardon* (1887) exemplifies this duality—photographic detail in the embroidered headdresses, but an almost mystical glow in the twilight scene. Later, he experimented with Symbolist undertones, as seen in *The Witches* (1911), where shadowy figures loom like half-formed thoughts. Though celebrated in his lifetime—winning the Grand Prix at the 1900 Exposition Universelle—his reputation dimmed as Modernism surged. Critics often dismissed him as a relic, but his influence quietly persisted. The Pre-Raphaelites admired his ethereal textures, and even Hopper’s cinematic stillness owes a debt to his layered compositions. Privately introspective, he painted fewer works after his son’s death in WWI, retreating into religious motifs that pulsed with quiet anguish. Today, retrospectives highlight his paradoxes: a technician who chased ghosts, a traditionalist who unnerved.