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Lot Essay
En 1879, la publication de Modern Chromatics with Application to Art and Industry par le physicien américain Ogden N. Rood change en profondeur l'approche artistique d'un petit groupe de peintres impressionnistes. Bientôt complétés des recherches de James Maxwell, également physicien, et d'Eugène Chevreul, chimiste, ses travaux sur la combinaison des couleurs retiennent l'attention de ces artistes en quête d'une méthode plus systématique de représentation de la lumière. Ils adoptent rapidement le principe selon lequel l'oeil peut faire seul le travail de mélange des couleurs pures appliquées en touches serrées sur la toile, traditionnellement effectué par l'artiste sur sa palette.
Maximilien Luce fait partie des peintres immédiatement enthousiasmés par ces théories divisionnistes, à l'instar de Georges Seurat, de Paul Signac ou d'Henri-Edmond Cross. Il expose ainsi dès 1887 sept oeuvres ralisées selon cette nouvelle méthode à l'occasion de la troisième exposition du Salon des Indépendants. Toutefois, comme le remarque le critique Félix Fénéon, sa facture est moins rigide et soumise au dictat théorique que celles des autres artistes du mouvement. A l'image de La Marne et le Pont de Fer à Lagny, sa technique est plus libre et instinctive, donnant lieu pour ses portraits comme pour ses paysages à des représentations rafraichissantes de spontanéité.
The publication in 1879 of Modern Chromatics with Application to Art and Industry by the American physician Ogden N. Rood initiated a profound change in the artistic stance of a small group of impressionist painters. Soon to be refined by the research of James Maxwell, a fellow physician, as well as that of the pharmacist Eugène Chevreul, this investigation into colour combination would rapidly gain the attention of these artists who were themselves exploring a more systematic representation of light. They would in turn quickly adopt the principle according to which the eye is capable on its own of mixing colours which, rather than being combined on the artists palette, had been applied in an arrangement of strokes of pure colour grouped tightly together on the canvas.
Maximilien Luce was one of the artists who immediately took up this divisionist theory, alongside Georges Seurat, Paul Signac and Henri-Edmond Cross. In 1887 at the third Salon des Indépendants, Luce exhibited seven works painted according to this revolutionary method. Nevertheless, as noted by the critic Félix Fénéon, his style was less rigid or governed by theoretical dictates than those of other artists of the movement.
As can be seen in La Marne et le Pont de Fer à Lagny, his technique is free and instinctual, resulting in portrait or landscape images which are both sponteneous and refreshing.
Maximilien Luce fait partie des peintres immédiatement enthousiasmés par ces théories divisionnistes, à l'instar de Georges Seurat, de Paul Signac ou d'Henri-Edmond Cross. Il expose ainsi dès 1887 sept oeuvres ralisées selon cette nouvelle méthode à l'occasion de la troisième exposition du Salon des Indépendants. Toutefois, comme le remarque le critique Félix Fénéon, sa facture est moins rigide et soumise au dictat théorique que celles des autres artistes du mouvement. A l'image de La Marne et le Pont de Fer à Lagny, sa technique est plus libre et instinctive, donnant lieu pour ses portraits comme pour ses paysages à des représentations rafraichissantes de spontanéité.
The publication in 1879 of Modern Chromatics with Application to Art and Industry by the American physician Ogden N. Rood initiated a profound change in the artistic stance of a small group of impressionist painters. Soon to be refined by the research of James Maxwell, a fellow physician, as well as that of the pharmacist Eugène Chevreul, this investigation into colour combination would rapidly gain the attention of these artists who were themselves exploring a more systematic representation of light. They would in turn quickly adopt the principle according to which the eye is capable on its own of mixing colours which, rather than being combined on the artists palette, had been applied in an arrangement of strokes of pure colour grouped tightly together on the canvas.
Maximilien Luce was one of the artists who immediately took up this divisionist theory, alongside Georges Seurat, Paul Signac and Henri-Edmond Cross. In 1887 at the third Salon des Indépendants, Luce exhibited seven works painted according to this revolutionary method. Nevertheless, as noted by the critic Félix Fénéon, his style was less rigid or governed by theoretical dictates than those of other artists of the movement.
As can be seen in La Marne et le Pont de Fer à Lagny, his technique is free and instinctual, resulting in portrait or landscape images which are both sponteneous and refreshing.