Rue à Alet-les-Bains, 1926

by Achille Lauge

P.O.A.

This beautiful painting, Rue à Alet-les-Bains, by Achille Laugé depicts a street scene in the South of France where the artist uses bright, luminous colours applied in quick dabs, very characteristic of his later works.

MEDIUM: Oil on canvas
DIMENSIONS: (unframed) 28.8 x 19.6 ins/ 73.2 x 49.8 cm
SIGNATURE: Signed ‘A. Laugé’ and dated (lower right)

Catalogue No: 6356 Categories: , Tags: , ,

This beautiful painting, Rue à Alet-les-Bains, by Achille Laugé depicts a street scene in the South of France where the artist uses bright, luminous colours applied in quick dabs, very characteristic of his later works.

From 1905 onwards Laugé began applying his pigments more freely; the strokes became thicker and the impasto heavier, following the lead of Georges Seurat and the Pointillists. Though he never adopted Seurat’s scientific attitude; rather his interest in primary and vivid colours led his to develop a vibrant and energetic palette. This technique allowed him to capture the brilliant translucence of southern light from his studio in the former Palais de Justice at Alet-les-Bains in the present work.

As said by the art critic, Gustave Geffroy, ‘Everything is filled with sunlight, but through a harmonious prism; to an acute and discerning vision is added the delicate ethereal quality of imagination.’

Private Collection South of France (gifted by the artist);

Thence by descent

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Neo-Impressionist painter Achille Laugé was born in Arzens before moving to Cailhau near Carcassonne in France, where he spent most of his life. Laugé began his studies in Toulouse in 1878, and went to Paris in 1881. At the École des Beaux-Arts he studied with Alexandre Cabanel and Jean-Paul Laurens. There, Antoine Bourdelle, whom Laugé had known in Toulouse, introduced him to Aristide Maillol, and the three maintained a long and fruitful friendship. In 1888, after seven years in Paris, including a term of military service, Laugé returned to the south and established himself at Carcassonne. Finally, in 1895, he returned to Cailhau where he spent the rest of his life.

 

Laugé’s time in Paris spanned the critical years from 1886 to1888 (Seurat’s La Grande Jatte was first exhibited amidst much controversy in 1886) and his contact with Neo-Impressionism should not be underestimated. Laugé never followed his teachers’ methods and advice, and his work was considered radical for its time. In 1894, he exhibited at the Salon des Indépendants, as well as at a Toulouse exhibition with de Bonnard, Maurice Denis, Sérusier, Roussel, Toulouse-Lautrec and Vuillard. In addition, he held several one-man shows in Paris from 1907 to 1930.

It was after his departure from Paris that Laugé developed his divisionist technique, following the lead of Seurat and the Pointillists. Although Laugé never adopted Seurat’s scientific attitude, his interest in the primacy and division of color resulted in work with a vivid, translucent palette. From 1888 until about 1896, Laugé composed his pictures with small points of color. At the end of the century, he abandoned the dots and dabs and painted his landscapes, portraits, and still-lives with thin, systematically placed strokes resembling crosshatching. After 1905, he applied his pigments more freely, with enlarged strokes and thick impasto that brought him closer to a traditional impressionist technique whilst maintaining his ability to paint the translucence of southern light.

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    This work is accompanied by a certificate of authenticity issued by Nicole Tamburini dated 16 January 2020 and will be included in her forthcoming catalogue raisonné of the artist.

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