.jpg?w=1)
拍品專文
This work will be included in the forthcoming Gustave Loiseau catalogue raisonné currently being prepared by Didier Imbert.
Loiseau received a small inheritance upon the death of his grandmother in 1887 which enabled him to leave Paris and cease earning his livelihood as a decorator in order to fully dedicate himself to painting. As a self-taught artist, his work was created by observation and imitation which, led by his instinct and acute sensibility, culminated in an oeuvre of his very own stylistic and formal vernacular. In 1897, Loiseau found financial independence when his work caught the attention of the dealer Paul Durand-Ruel. An ensuing contract permitted the painter to spend extended periods of time away from Paris. As his eye matured, so did his technique. He synthesized the methods of Impressionist masters like Camille Pissarro and Alfred Sisley, while maintaining his own style. He developed a predilection for treating muted subjects which he elaborated in series over time much like one of his most important influences, Claude Monet.
Loiseau seemed to prefer the early and later hours of day. He shied from the vivid light of noon in favor of effects such as rain, frost, and mist. Les peupliers sur l’Eure is a magnificent example of Loiseau’s treatment of the gentle diffusion of light in order to attain chromatic harmony. The contemporary art critic Louis Vauxcelles observed that among his peers, Loiseau particularly drew inspiration from Monet’s paintings such as L’Île aux Orties, Giverny (fig. 1) and Effet de vent, séries des peupliers (fig. 2). The latter, which is part of an extensive series of its own, seems to be the most apparent reference material for the younger painter. In the present work, Loiseau treats the landscape with a poetic touch, rendering the qualities of the mist with a balance of both realism and ethereality: one can almost see it float among the poplar trees and over the undulating waters of the river Eure. His technique allowed him to create a duality between stillness and vigor, quietude and sound which is most visible in his rendering of shimmering reflections of the water.
Loiseau received a small inheritance upon the death of his grandmother in 1887 which enabled him to leave Paris and cease earning his livelihood as a decorator in order to fully dedicate himself to painting. As a self-taught artist, his work was created by observation and imitation which, led by his instinct and acute sensibility, culminated in an oeuvre of his very own stylistic and formal vernacular. In 1897, Loiseau found financial independence when his work caught the attention of the dealer Paul Durand-Ruel. An ensuing contract permitted the painter to spend extended periods of time away from Paris. As his eye matured, so did his technique. He synthesized the methods of Impressionist masters like Camille Pissarro and Alfred Sisley, while maintaining his own style. He developed a predilection for treating muted subjects which he elaborated in series over time much like one of his most important influences, Claude Monet.
Loiseau seemed to prefer the early and later hours of day. He shied from the vivid light of noon in favor of effects such as rain, frost, and mist. Les peupliers sur l’Eure is a magnificent example of Loiseau’s treatment of the gentle diffusion of light in order to attain chromatic harmony. The contemporary art critic Louis Vauxcelles observed that among his peers, Loiseau particularly drew inspiration from Monet’s paintings such as L’Île aux Orties, Giverny (fig. 1) and Effet de vent, séries des peupliers (fig. 2). The latter, which is part of an extensive series of its own, seems to be the most apparent reference material for the younger painter. In the present work, Loiseau treats the landscape with a poetic touch, rendering the qualities of the mist with a balance of both realism and ethereality: one can almost see it float among the poplar trees and over the undulating waters of the river Eure. His technique allowed him to create a duality between stillness and vigor, quietude and sound which is most visible in his rendering of shimmering reflections of the water.