Femme au Jardin, 1896

by Louis Valtat


Out Of Stock

DIMENSIONS: (unframed) 7.50 x 8.50 in./19.05  x 21.59 cm
SIGNATURE: Initialed lower left
MEDIUM: Oil on paper laid on board

Out Of Stock

Catalogue No: 4403 Categories: ,

Femme au Jardin is a prime example of Louis Valtat’s signature use of vibrant colours. Depicting an old woman in her garden, the thick impasto recreates the lush vegetation and woman’s knitting materials. Valtat’s use of simple shapes and lack of shadow lend the composition a unique brightness and draw attention to his skills as a colourist.


Weiner Gallery, New York;
Private Collection, USA

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Louis Valtat was identified by the late, great, art collector and dealer Ambroise Vollard as one of the most exciting painters working in Paris at the turn of the 20th century.  On Renoir’s advice, Vollard made an agreement with Valtat to purchase almost all of the artist’s work for the first decade of the 20th century (1902 – 1912).


Valtat’s brushwork employs light strokes inspired by the Impressionists, combined with strong outlines influenced by his contemporaries. His father was trained in landscape painting, and Valtat completed some landscapes, but his most famous works were of still lifes. He is known as a member of the fauvists – sometimes translated as “wild beasts” for their aggressive use of colour.


Born in Normandy and raised near Versailles, Louis Valtat decides to follow an artistic career and enrols at the École des Beaux Arts de Paris in 1887. He continued his studies at the Académie Julian under Jules Dupré (1811-1889) who was a Barbizon landscape artist.

As a Parisian art student, he befriended Albert Andre (1869-1954), Maurice Denis (1870-1943), Pierre Bonnard (1867-1947) and Edouard Vuillard (1868 – 1940) – all members of the Nabis movement influenced by Paul Gauguin’s sythesist methods – using simple forms and strong, pure colours. Valtat did not become a Nabi, but he did learn and later used their style as an influence.

Valtat exhibited throughout his career and even worked together with sculptor Aristide Maillol (1861-1944) on some projects, and with Henri Toulouse-Lautrec (1864-1901) on the décor of the Paris theatre L’Ouevre in 1894. Valtat’s health obliged him to move to the Mediterranean coast in the autumn and winter seasons. Here he and his family would often visit Paul Signac (1863-1935) in Bollée and Pierre-Auguste Renoir (1841-1919) in Cagnes.


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