P.O.A.
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DIMENSIONS: (unframed)19.5 x 25.8 in./49.5 x 65.5 cm
SIGNATURE: Signed lower right
MEDIUM: Oil on canvas
This painting represents Loiseau’s work during his later years, depicting the Place de L’Étoile, now known as Place Charles de Gaulle, in Paris. The square is incredibly busy with both tourists and locals alike, as it is where the Arc de Triomphe lies.
This painting is demonstrative of Loiseau’s inventive style of painting. He developed his own style by translating the stippled brushstrokes he observed in the core Impressionist group, like here, but implemented an intuitive, starker, sense of light and dark. In this way, he affiliated himself with the group that became known as the Neo-Impressionists, as is noted by this writer in 1907:
“Among the men who have followed the traces of the school of Manet and who might be called, if it is necessary to give them a title, the Neo-Impressionists, four seem to stand out from the others and to have produced pictures, many of which can be considered masterpieces. These four men are: Maufra, Moret, Loiseau and D’Espagnat”
A Quartet of Young Impressionists, Henry G. Stephens, Brush and Pencil,
Vol. 19, No. 4 (Apr.1907), p. 148
A great friend of the painters Maxime Maufra and Henry Moret, Loiseau belonged to the generation of young artists whom the Impressionists regarded as their successors. It was a legacy that they were keen to nurture as carefully as possible. In 1895, Monet and Renoir introduced these young painters to Paul Durand-Ruel, who for years had been their retained art dealer. Two years later Durand-Ruel signed an exclusive contract with Loiseau.
This painting represents Loiseau’s work during his later years, depicting the Place de L’Étoile, now known as Place Charles de Gaulle, in Paris. The square is incredibly busy with both tourists and locals alike, as it is where the Arc de Triomphe lies.
Private collection of H. Terry-Engell, London, until May 28, 1964;
Ralph S. Stillman, Esq., New York; to his wife, Eugenia Stillman, New York, 1993–2006;
Private Collection, United States
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Gustave Loiseau’s parents were butcher shop owners who moved to Paris after he was born. Gustave became an apprentice to a decorator friend of the family and his parents, recognizing that he was unlikely to change his mind about his future sold their business and retired to Pontoise. Pontoise near Paris was important in French painting at the time, having been extensively depicted by Pissarro and Cezanne.
In 1887 Loiseau’s inheritance from his grandmother enabled him to give up his job and devote his life to painting. Moving to Montmartre, he enrolled for one year at the École des Arts-Décoratifs to study life-drawing, until an argument with his teacher prompted him to withdraw. Departing from the École des Arts-Décoratifs, he reconnected with painter Fernand Just Quignon, whose apartment Loiseau worked as a decorator. He then became a pupil in Quignon’s studio. In 1890 he befriended the myriad of artists now known as the Pont-Aven School, most importantly Paul Gauguin, as well as Maxime Maufra and Emile Bernard. This school focused on bold usages of colour and the painting of Symbolist subjects.
The authenticity of this work was confirmed by Didier Imbert, author of the forthcoming catalogue raisonné on Gustave Loiseau, on December 4, 2014, Attestation C 769.
