H. P. Bremmer, Beeldende Kunst, The Hague, vol. 8 (1921), no. 9
Ronald Feltkamp, Théo van Rysselberghe, 1862-1926, Catalogue Raisonné, Brussels, 2003, no. 1919-004, illustrated pp.&nbܫsp;133 and 424

Théo Van Rysselberghe was one of the few followers of Seurat and Signac who fully mastered their chromatic discoveries of applying paint in small dabs of complementary and contrasting color.

Le pin de Fossette is an outstanding of the artist’s technical command and artistic impression showcasing his mature style.  “About 1900, Van Rysselberghe’s art relaxed.  The colourist had gradually left behind the orthodoxy of neo-impressionism. He was still ‘separating,’ but in a less methodical manner.  His brush-stroke was becoming larger.  He was manipulating the brush and matching pure colour tones to each other with a new freedom.  He was moving away from the technique of light-painting while preserving its spirit; he seemed no longer to consult anything but his instinct and his senses in the choice of tone and strength of colour, and in the disposition of strokes” (Paul Fierens, Théo Van Rysselberghe, Brussels, 1937, p. 27).

Fig. 1  Théo Van Rysselberghe, Pins au Layetꦉ, 1912, Private Collection (sold: Sotheby's, New York, November 8, 2006, $575,000 hammer)