Paquita au collier

Painted in 1925, the year of Van Rysselberghe's death, this late canvas depicting 'Paquita' wearing a necklace is among the final works of his career. By this stage his technique was far removed from the strict divisionism of the 1890s — broad, sensuous strokes replace the careful dot pattern, and colour is deployed intuitively rather than systematically. The model identified as 'Paquita' likely belonged to the loose community of models, friends, and family who sat for him during his final decade on the Mediterranean coast. The necklace of the title draws attention to the decorative interest in jewellery that recurs throughout his late work — an interest that connects back to his earlier work in Art Nouveau design and the Belgian applied arts tradition. Working to the end of his life despite failing health, this canvas is a valedictory image of the pleasures of painting the human figure in strong southern light.

Oil on canvas with a fully mature, freely handled technique. Broad strokes of warm and cool colour build the figure without the divisionist structure of the earlier work. The necklace is described with precise, small touches that contrast with the looser handling of the surrounding flesh and background. Colour temperature shifts remain the primary means of modelling form.