Leonard Sarluis, born Salomon-Léon Sarluis, stands as a fascinating, if somewhat enigmatic, figure within the Symbolist movement that flourished in Europe, particularly in Paris, during the late nineteenth and early twentieth centuries. A Dutch artist who found his spiritual and artistic home in the French capital, Sarluis cultivated an art that wove together classical technical skill with a distinctly modern, often mystical, sensibility. His engagement with the esoteric, his exploration of idealist themes, and his connections with prominent figures of the era mark him as a noteworthy contributor to the rich tapestry of Symbolist art.
Early Life and Parisian Transformation
Salomon-Léon Sarluis was born in The Hague, Netherlands, on October 25, 1874. His early artistic training took place at the Royal Academy of Art (Koninklijke Academie van Beeldende Kunsten) in his native city. Like many ambitious young artists of his generation, Sarluis was drawn to Paris, the undisputed center of the art world at the time. He made the pivotal move around 1894, when he was approximately twenty years old.
It was in Paris that he underwent a significant personal and artistic metamorphosis. Embracing the city's vibrant cultural milieu, he chose to adopt the name "Leonard," a clear and conscious homage to the Renaissance titan Leonardo da Vinci. This act signaled his aspiration towards a grand, intellectually profound, and technically masterful form of art, aligning himself with a lineage of artists who sought to transcend mere representation in favor of deeper meaning. Paris in the 1890s was a crucible of artistic innovation, with Impressionism having paved the way for Post-Impressionism and the burgeoning Symbolist movement, providing fertile ground for an artist of Sarluis's inclinations.
Immersion in the Symbolist Milieu
Upon arriving in Paris, Leonard Sarluis quickly became a recognizable figure. He was fortunate to gain the admiration and mentorship of influential personalities. Among them was the celebrated French novelist Émile Zola, a towering figure of literary Naturalism, whose appreciation for Sarluis might seem surprising given Zola's typical focus on stark reality. However, Zola's later works did explore more complex psychological and social themes, and he was known to support various artists.
More central to Sarluis's artistic development was his close association with Armand Point (1860-1932), a key French Symbolist painter, enameller, and designer. Point was deeply involved in the revival of medieval and Renaissance techniques and ideals, and he became a significant champion of Sarluis. Point reportedly described Sarluis with evocative, almost poetic, language, calling him "living youth" and a "young woman with da Vinci's smile," and even comparing his intense presence to Shakespeare's Lady Macbeth. Such descriptions hint at Sarluis's captivating personality and perhaps an androgynous beauty that resonated with Symbolist aesthetics, which often explored themes of the femme fatale, the androgyne, and ethereal beauty. Other literary figures like Elémir Bourges, a novelist whose work often delved into historical and philosophical themes with a decadent sensibility, also recognized Sarluis's talent.
The Rose+Croix Salons and Idealist Art
Sarluis's involvement with the Symbolist movement is most prominently marked by his participation in the Salons de la Rose+Croix. Organized by the eccentric and charismatic Sâr Joséphin Péladan, these exhibitions, held annually in Paris from 1892 to 1897, were dedicated to an art that was idealist, mystical, and legendary, explicitly rejecting Realism, Impressionism, and academic art. Péladan sought to promote an art that served a spiritual and intellectual purpose, often drawing on Catholic mysticism, occult traditions, and medieval romance.
For the fifth Salon de la Rose+Croix in 1896, Leonard Sarluis collaborated with Armand Point on a striking poster. This artwork is a quintessential example of Symbolist iconography and ideology. It depicted a heroic, androgynous figure, described as a composite of Perseus and Saint George – both dragon-slayers and saviors – representing the Rosicrucian ideal. In a bold and provocative gesture, this knightly figure was shown holding the severed head of Émile Zola. This was a symbolic act, representing the triumph of Rosicrucian idealism, spirituality, and beauty over the perceived materialism, ugliness, and scientific determinism of Zola's Naturalism. Sarluis was reportedly responsible for rendering Zola's head in this collaborative piece. This poster encapsulated the confrontational stance of Péladan's circle against dominant artistic and literary trends. Artists who exhibited at the Rose+Croix Salons alongside Sarluis, or whose work shared a similar spirit, included Jean Delville, Fernand Khnopff, Carlos Schwabe, Charles Filiger, and Félix Vallotton, creating a distinct current within the broader Symbolist wave.
Artistic Style and Thematic Concerns
Leonard Sarluis's artistic style was characterized by a meticulous technique reminiscent of the Old Masters, particularly those of the Italian Renaissance, which he combined with a modern, often unsettling, psychological depth. His work frequently explored the tension between idealism and realism, the spiritual and the material. He was drawn to grand themes, mythological subjects, and allegorical narratives, all filtered through a Symbolist lens that emphasized subjective experience, dreams, and the unseen world.
His oeuvre reflects a profound interest in mysticism and the esoteric. This is evident in his ambitious project, a series of 360 paintings titled "The Mystical Interpretation of the Bible" (L'Interprétation Mystique de la Bible). While the full extent and current whereabouts of this vast series are not entirely clear, individual works from it, or related to it, have surfaced. One such painting, described as depicting the Roman goddess Pomona, half-nude and holding an apple, reportedly captured the attention of the influential Swiss Symbolist painter Arnold Böcklin (1827-1901). Böcklin, known for his mythological scenes imbued with a sense of melancholy and mystery, such as "Isle of the Dead," would have recognized a kindred spirit in Sarluis's approach to classical subjects. The choice of Pomona, a goddess of fruitfulness and orchards, could be interpreted in various symbolic ways, perhaps relating to temptation, knowledge, or the bounty of the spiritual realm.
Another significant work mentioned is a large mural titled "Nero." The subject of the Roman emperor Nero, often associated with decadence, tyranny, and artistic ambition, was a popular one in the late 19th century, appealing to the Symbolist fascination with historical figures embodying extreme states of being. One can imagine Sarluis portraying Nero not merely as a historical figure but as an archetype of artistic hubris or societal decay, themes that resonated with artists like Gustave Moreau (1826-1898), whose opulent and erudite paintings often explored such subjects.
Sarluis also provided illustrations for "Voyage au pays de la quatrième dimension" (Journey to the Land of the Fourth Dimension) by Gaston de Pawlowski, a writer known for his speculative and philosophical fiction. Illustrating such a text would have allowed Sarluis to explore themes of alternate realities, spiritual dimensions, and the limits of human perception, all central to Symbolist thought. His allegorical painting "Pandora" further demonstrates his engagement with mythological subjects laden with symbolic potential – Pandora, the bringer of both gifts and suffering to humanity, is a rich source for exploring themes of curiosity, consequence, and the human condition.
There are also suggestions that Sarluis's work explored themes of homosexuality or androgyny. In the context of fin-de-siècle Paris, where figures like Oscar Wilde (who reportedly admired Sarluis's work when it was exhibited in London) were challenging societal norms, such explorations would have been both daring and aligned with certain currents within Symbolism that sought to break conventional boundaries of representation and identity. Artists like Simeon Solomon in England or Jean Delville in Belgium also touched upon androgynous figures and homoerotic undertones in their art.
Exhibitions and Contemporary Recognition
Sarluis's work was exhibited in Paris, notably at the Salons de la Rose+Croix, and also in London. An exhibition of his "Mystical Interpretation of the Bible" series was held at the Grafton Galleries in London. The Grafton Galleries were known for hosting significant exhibitions of modern art, including the groundbreaking Post-Impressionist shows organized by Roger Fry. This indicates that Sarluis achieved a degree of international recognition during his career.
His art was appreciated by a circle that included not only fellow artists like Armand Point but also writers and intellectuals such as Zola, Bourges, Pawlowski, and Oscar Wilde. This network of support and admiration underscores his relevance within the Symbolist movement and the broader cultural landscape of the era. He was an artist who, while perhaps not achieving the same level of enduring fame as some of his contemporaries like Gustav Klimt, Edvard Munch, or Odilon Redon, nevertheless contributed a unique voice to the Symbolist chorus. His work can be seen in dialogue with other Symbolists who emphasized meticulous draftsmanship and visionary content, such as Fernand Khnopff, Jan Toorop, or Carlos Schwabe.
Later Life and Legacy
Information about Leonard Sarluis's later life and career after the peak of the Symbolist movement in the early 20th century is less abundant. The Symbolist movement itself began to wane with the rise of new avant-garde movements like Fauvism, Cubism, and Expressionism. Many Symbolist artists adapted their styles or faded somewhat from the forefront of artistic innovation. Leonard Sarluis passed away in Paris on April 20, 1949.
His legacy resides in his contribution to Symbolist art, particularly its more mystical and idealist wing associated with the Rose+Croix. His dedication to a highly finished, classically inspired technique, combined with esoteric and psychologically charged subject matter, offers a distinct vision. His works, when they appear, often evoke a sense of dreamlike intensity and intellectual depth.
Sarluis in the Art Market
Specific details about the performance of Leonard Sarluis's works in the contemporary art market are not extensively documented in readily available public sources. Like many artists associated with specific historical movements that are not always in the mainstream spotlight, his works may appear periodically at auction or in specialized gallery exhibitions focusing on Symbolism or fin-de-siècle art. The provided information notes that his works have been listed in auction catalogues, but comprehensive data on sales volume or price realization is scarce. The rarity of his major works, such as the large "Nero" mural or the extensive "Mystical Interpretation of the Bible" series, would naturally make them significant items should they come to market.
Conclusion: An Artist of Mystical Depths
Leonard Sarluis remains a compelling figure from an era of profound artistic and intellectual ferment. His journey from The Hague to the heart of Parisian Symbolism, his evocative name change, his collaborations, and his dedication to an art of ideas and spiritual exploration define him as an artist of conviction. He navigated the complex currents of fin-de-siècle culture, aligning himself with the idealist vision of the Rose+Croix and creating works that sought to penetrate the veil of mundane reality to touch upon deeper truths. While perhaps not as widely known today as some of his Symbolist peers like Gustave Moreau, Odilon Redon, or even his collaborator Armand Point, Leonard Sarluis's art offers a valuable insight into the mystical and esoteric dimensions of the Symbolist movement, a testament to an artist who dared to visualize the unseen and articulate the ineffable. His work invites continued study and appreciation for its unique blend of technical refinement and visionary imagination.
