Last notes on La Bourrasque

I have another theory on La Bourrasque and why the different versions but it’s not verified by any scholarly texts. It’s mainly stemming from conjecture and extensive reading of Paris-Bruxelles exhibition catalogues.
I believe that while in Bruges, Belgium, collaborating with Georges Rodenbach, the Belgian Symbolist author, Lévy-Dhurmer was heavily influenced by another master of the oil pastel, Bruges’ Fernand Khnopff (whose pastels of redheads bathed in orange tresses and light glow have been featured here extensively.) {N.B.: see} Khnopff’s rousses or redheads, mostly modeled after his sister Marguerite, his muse of choice, feature many of the same traits as the later pastel Bourrasques. In fact, they go from the early ‘brunes femmes fatales’ or brunette deadly females to the impassioned, playful, and ethereal redheads in one year, which is a big shift. Overall, from this date forth there is a more perceivable lightness in Lévy-Dhurmer’s pastel work. And knowing how extensive the connection was between the Belgians and the Parisiens, particularly between the Symbolists, former Groupe des Vingt members (les XX), Rosicrucians & followers of occultist extraordinaire Josephin Péladan; it’s only natural to extrapolate that influences will occur. And I believe that this is one of those cases where the evidence of the influence/elucidation is the fact that the artist revisits the work to make it closer to the original conception of the theme. But I’m not much of a scholar; I’m merely an avid enthusiast. Also, I’m biased in that I have studied Khnopff more extensively than any other Symbolist because I am obsessed with his work and I still marvel at his technique and am haunted by so much of his imagery.