Rochers de Saint-Lunaire, 1904

Rochers de Saint-Lunaire, 1904

by Gustave Loiseau

P.O.A.

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Gustave Loiseau was a French painter best known for his Post-Impressionist landscapes utilizing crosshatched strokes to describe light and forms. His work is more similar to the first generation of Impressionists, such as Claude Monet and Alfred Sisley, in its focus on changing weather and seasons.

His canvases reveal an interest in depicting the effects of rain, frost, fog, morning mist and overcast skies with the clouds filtering the rays of sun. In order to create a more melancholy landscape he always avoided the intense and vibrant light found in the work of the Impressionists.

DIMENSIONS: (unframed) 23.6 x 31.9 ins / 60.0 x 81.0 cm
SIGNATURE: Signed ‘G. Loiseau’ (lower left)
MEDIUM: Oil on canvas

Catalogue No: 5706 Categories: ,

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

(with) Galerie Marumo
Private Collection Beverly Hills, acquired from the above

Literature:
This painting is to be included in the catalogue raisonne currently in preparation by Didier Imbert and is accompanied by a certificate of authenticity

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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.

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.

 

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