Adrien-Jean Le Mayeur,
Belgian (1880 - 1958)
Adrien-Jean Le Mayeur de Merprès, born in Brussels in 1880 and died in the same city in 1958, was a Belgian painter whose work was deeply influenced by his travels, and more particularly by his stay in Bali, Indonesia, where he spent the last 26 years of his life. The son of a renowned seascape painter, he initially studied architecture before returning to painting, his true passion. Le Mayeur trained in the Impressionist tradition, influenced by the effects of light and atmospheric effects characteristic of this movement. After the First World War, during which he worked as a painter and photographer for the Belgian army, he developed an artistic quest that led him to travel the world in search of new light and new landscapes. His journey took him through Europe, North Africa, India, Madagascar and Tahiti, but it was in Bali that he finally found his artistic paradise.
Arriving in Bali in 1932 at the age of 52, Le Mayeur was immediately captivated by the island, nicknamed the ‘Island of the Gods’, with its lush landscapes, unique light and deeply rooted cultural traditions. Here, the artist discovered a traditional way of life, rituals and local dances that became an inexhaustible source of inspiration for his work. It was on the island that he met Ni Wayan Pollok, a Legong dancer aged 15 at the time, who became his muse and model. They married in 1935, after which they built a house together on Sanur beach, now a museum. Ni Pollok is at the heart of many of Le Mayeur's paintings, which often depict her in graceful, sensual poses, surrounded by the abundant Balinese countryside.
Le Mayeur's style, influenced by Impressionism, is characterised by a palette of bright, vivid colours, highlighting the intensity of tropical landscapes. His canvases capture the golden light of sunsets, the beauty of Balinese women and the richness of the surrounding flora. Although his work remains faithful to a simple technique, he succeeds in accurately capturing the essence of his environment, without getting lost in unnecessary detail. This simplicity, praised by the press at his exhibitions, enabled the artist to capture the light and colour of tropical scenes with a minimum of effort, creating works that are both vibrant and timeless. The Japanese occupation during the Second World War did not curb his creative activity. Under house arrest, he continued to paint on makeshift materials such as canvas rice sacks, proving his unwavering commitment to his art.
After the war, Le Mayeur found increasing international recognition. His house in Sanur became a popular destination for tourists, who were fascinated by his works and by the hospitality of the couple, who often welcomed visitors in a convivial atmosphere. The artist also benefited from several exhibitions in South-East Asia, which helped to strengthen his reputation. In 1956, as Indonesia celebrated its independence, the Minister of Education and Culture visited Le Mayeur's house and proposed that it be turned into a museum. In 1957, a deed formalised this donation: Le Mayeur gave his house and his works to Ni Pollok, who then handed them over to the Indonesian government. In 1958, suffering from ear cancer, Le Mayeur returned to Belgium for treatment, but died shortly afterwards on 31 May 1958.
Today, the house in Sanur is a museum displaying around 80 of his works, as well as Balinese artefacts and local works. Le Mayeur's work remains admired for his ability to combine Western impressionism with a particular sensitivity to the Balinese landscape and its people. Thanks to his artistic quest for light and his deep attachment to Bali, Adrien-Jean Le Mayeur de Merprès occupies a unique place in the history of Southeast Asian art, where his work continues to amaze and inspire.
