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拍品专文
This work will be included in the forthcoming Gustave Loiseau catalogue raisonné currently being prepared by Didier Imbert.
“A little further to the west, the cliffs of Cap Fréhel, dominating a frequently stormy sea, offer him a constantly changing perspective to the height of the tide; the final canvases known today as the series on the Pointe du Jars” (D. Imbert, Gustave Loiseau, exh. cat., Didier Imbert Fine Art, Paris, 1986, n.p.).
Beginning his career as a painter in 1887, Loiseau was inspired by Impressionism. Although typically associated with the Post-Impressionists, the subtleties of Loiseau’s style are enigmatic and not quite analogous to either movement. Loiseau admired and emulated the Impressionist artists but incorporated a new distinctive perspective into his work.
“At first, Loiseau does not try to seize a fleeting anecdotal moment but rather to define its exterior aspect, to recreate it on canvas in order to profoundly penetrate the viewer’s perception of it,” Imbert has written. “He obtains this solidity by means of an entirely personal technique composed of thick wide strokes which possess a certain vibrancy and which evolve gradually to form a kind of subtle lattice work” (ibid.).
La Pointe du Jars, Cap Fréhel possesses a palpable density, as if the pigment has been woven taught like fabric. The strokes synchronize in movement, completely interlacing and filling the entire canvas. Loiseau incorporates shades of green and turquoise into the atmosphere, subtly reflecting the water below; if not for scattered clouds and the wispy line of distance cliffs, a single aqueous composition would emerge as sky and sea blend into a harmonious shade of cerulean.
“[Loiseau was] attracted by the half-tones of the morning fog floating on the river or by the muted nuances of sunset over a church steeple, he has little liking for either the violent light of the midday sun or the bright light of fine weather, preferring the effects of rain, frost and snow. This ceaseless effort to transform the heaviness of pictorial matter into the lightness of the produced impression, by the alchemy of shades of colors, always remained at the heart of his research, revealing a true knowledge of his profession” (ibid.).
The creeping, violet shadows draped along the cliff and dark accents across the water indicate a late afternoon or the overcast, brooding setting of an impending storm. The compelling hues of La Pointe du Jars, Cap Fréhel owe themselves to Loiseau’s unique, adventurous approach to painting. He felt that all aspects of nature were worthy of appreciation and transferred this sentiment into his work through inventive color concoctions and meticulously rendered brushwork.
“A little further to the west, the cliffs of Cap Fréhel, dominating a frequently stormy sea, offer him a constantly changing perspective to the height of the tide; the final canvases known today as the series on the Pointe du Jars” (D. Imbert, Gustave Loiseau, exh. cat., Didier Imbert Fine Art, Paris, 1986, n.p.).
Beginning his career as a painter in 1887, Loiseau was inspired by Impressionism. Although typically associated with the Post-Impressionists, the subtleties of Loiseau’s style are enigmatic and not quite analogous to either movement. Loiseau admired and emulated the Impressionist artists but incorporated a new distinctive perspective into his work.
“At first, Loiseau does not try to seize a fleeting anecdotal moment but rather to define its exterior aspect, to recreate it on canvas in order to profoundly penetrate the viewer’s perception of it,” Imbert has written. “He obtains this solidity by means of an entirely personal technique composed of thick wide strokes which possess a certain vibrancy and which evolve gradually to form a kind of subtle lattice work” (ibid.).
La Pointe du Jars, Cap Fréhel possesses a palpable density, as if the pigment has been woven taught like fabric. The strokes synchronize in movement, completely interlacing and filling the entire canvas. Loiseau incorporates shades of green and turquoise into the atmosphere, subtly reflecting the water below; if not for scattered clouds and the wispy line of distance cliffs, a single aqueous composition would emerge as sky and sea blend into a harmonious shade of cerulean.
“[Loiseau was] attracted by the half-tones of the morning fog floating on the river or by the muted nuances of sunset over a church steeple, he has little liking for either the violent light of the midday sun or the bright light of fine weather, preferring the effects of rain, frost and snow. This ceaseless effort to transform the heaviness of pictorial matter into the lightness of the produced impression, by the alchemy of shades of colors, always remained at the heart of his research, revealing a true knowledge of his profession” (ibid.).
The creeping, violet shadows draped along the cliff and dark accents across the water indicate a late afternoon or the overcast, brooding setting of an impending storm. The compelling hues of La Pointe du Jars, Cap Fréhel owe themselves to Loiseau’s unique, adventurous approach to painting. He felt that all aspects of nature were worthy of appreciation and transferred this sentiment into his work through inventive color concoctions and meticulously rendered brushwork.