Loir invested this type of training instead into his own synthesis of figures and landscape to produce the natural replication of the activity along the Parisian streets. This interest in the Parisian street scene was influenced, however, by another transformation that had entirely reshaped the Parisian landscape and how Parisians spent their leisure time. The street itself became the center of activity – from the bohemian center of Montmartre to the upper class promenades of the leisure class; it was on the streets of Paris that one found the heart of activity. Loir took to the streets in search of his inspiration, studying it and its inhabitants.

Loir was an active Salon artist, debuting in 1865 with À Villers. From this point on, he began regularly exposing scenes not only based on the Parisian cityscape, but other locales as well, including Puteaux, Bercy, Auteuil, and others. Indeed, at the time of his first Salon entry, Loir was not living immediately in Paris, but instead on the outskirts in Neuilly-sur-Seine. He received many awards for his entries (3rd class medal – 1879; 2nd class medal – 1886; Gold medal – 1889 Exposition Universelle in Paris) and his works were purchased by prestigious individuals and museums alike, among countless others purchased either by the French states or other museums spanning the continents.

His awards were equally numerous, becoming part of the Office d’Académie in 1889 and a Chevalier de la Legion d’Honneur in 1898. He was also a member of the Société de Peintres-Lithographes, of the Société des Aquarellistes, and a member of the Jury of the Société des Artists Français and of the Société des Arts Décoratifs since 1899.

This beautiful painting is one of such works, depicting the ‘Quai de Bourbon’ in the fourth arrondissement of Paris. The quay itself was built in 1614 by the Bourbon family and today remains a beautiful Parisian landmark, on the right bank of the River Seine. The use of yellow hues throughout this scene creates a sense of the warm evening light found just after sunset in the Parisian capital, whilst at the same time, it contrasts against the dark trees and figures, creating a romantic atmosphere that Loir was much admired for. Works such as this boosted Loir’s career and his reputation even further, so much so that in 1879 he was awarded the Bronze medal from as Exposant Fidèle des Artistes Français in Paris. A little methodical perhaps, Loir concentrated exclusively on painting views of Paris, at the time the centre of the world. In these works, Loir caught and expressed the many faces of the city of lights, at different times of the day. His craftsmanship and attention to detail led to his election as the official painter of the Boulevards of Paris. His interest in the urban cityscape is perhaps more complex than a simple depiction of Paris and its inhabitants.

Loir’s sincere reflections on the changing effects of both the different times of day and the weather show the aesthetic reflection put into his paintings. Loir’s often impressionistically-executed works exhibit qualities of a dedicated study of the changing light effects on the environment, from the early afternoon to dusk, allowing him to focus his audience’s attention on a source of light punctuating the otherwise cool colors of the canvas. His use of the most recognizable icons of the city nevertheless created a sense of nostalgia for these urban monuments.

Following from the breakthroughs of Impressionism, many artists experimented with the usage of flat surfaces of colour – a precursor to abstraction. The figure walking through the park is met with vast planes of blues, greens, reds, and browns, representative of the structures, possibly for a fair or an exhibition.

Loir employs strong vertical lines to juxtapose the flat surfaces and, hence, creates a rhythmic, strong composition with vivid colours. With a couple of brushstrokes he has portrayed the leisurely stride of the central figure – a flaneur, perhaps, who views the events happening in Paris as an anonymous audience.