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Achille LaugéRue à Alet-les-Bains - Achille Laugé, neo-impressionist, french, painting, art1926
1926
$59,579.72
£44,378.31
€50,000
CA$82,046.10
A$89,305.11
CHF 47,319.58
MX$1,074,029.09
NOK 601,656.42
SEK 551,351.54
DKK 380,966.89
About the Item
Achille Laugé (1861-1944)
Rue à Alet-les-Bains
1926
oil on canvas
73 x 50 cm
signed and dated ‘A. Laugé 1926’ (lower right)
Price:
€50,000 EUR
Provenance:
Private collection, South of France (gifted by the artist)
Thence by descent
Notes:
This work is accompanied by a certificate of authenticity issued by Nicole Tamburini, dated 16 January 2020 (no. 701) and will be included in her forthcoming catalogue raisonné of the artist.
Achille Laugé began his artistic training at the École des Beaux-Arts in Toulouse where he met the sculptor Antoine Bourdelle who would become his lifelong friend. In fact, a pencil portrait of Bourdelle was his first exhibited workmshown at the Salon des Artistes Français in 1884. He later enrolled in the École des Beaux-Arts in Paris in 1882. Following this, he enrolled in the studio of Alexandre Cabanel where he met and befriended the sculptor Aristide Maillol with whom he later shared a studio. In 1884, he returned to the South of France where he would remain for the rest of his career.
'Everything is filled with sunlight, but through a harmonious prism; to an acute and discerning vision is added the delicate ethereal quality of imagination.' - art critic, Gustave Geffroy. Laugé began applying his pigments more freely from 1905 onwards; the strokes became thicker and the impasto heavier. 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.
Categories:
Rue à Alet-les-Bains, Achille Laugé, neo-impressionist, french, painting, france, commune, neo-impressionist, pointillist, pointillism, street scene, sun, authentic, original, oil painting, occitanie, aude, light, impasto, decorative, design, yellow, sunrise, sunset, shadows, alleyway, intimate
- Creator:Achille Laugé (1861-1944, French)
- Creation Year:1926
- Dimensions:Height: 28.75 in (73 cm)Width: 19.69 in (50 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU141426873142
Achille Laugé
Achille Laugé was the son of well-to-do farmers who moved to Cailhau near Carcassonne, where he spent most of his life. Laugé began studies in Toulouse in 1878, and went to Paris in 1881. At the Ecole 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. 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 witth 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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