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The fact that Gustave Loiseau, despite his talent, has never been mentioned in the same breath as the truly famous French painters does not speak against his art, but rather for the exquisite collection of artists that this nation alone has produced. Little known to the general public outside France, his work is highly appreciated by experts and enthusiasts.
Born in Paris, Loiseau grew up in Pontoise, a community northwest of Paris, where his parents ran a butcher's shop, and initially learned the trade of a decorator. One of his first clients was the French landscape painter Fernand Quigon. His grandmother's inheritance enabled Loiseau to study painting, and he won Quigon as his first teacher. In 1890 he went to Pont-Aven in Brittany where he met Émile Bernard and Paul Gauguin. For more than thirty years he had his residence and studio in Auvers-sur-Oise, east of Paris.
The 1890s were the heyday of pointilism, embodied among others by Paul Signac , and the post-impressionists. One style of painting emerged more or less from the other or merged with it - Loiseau experimented with both and gradually created his own style from them. His speciality became landscape paintings of the same object at different seasons: Just as Claude Monet - incidentally, this was Loiseau's declared model, along with Camille Pissarro - painted Rouen Cathedral at every conceivable time of day, Loiseau often captured the same field or garden on canvas in different months. Nevertheless, he also depicted countless Parisian streets, from the Place da la Bastille (1922) and the "Étoile" (1929) to rather unknown side streets such as the "Rue de Clignancourt" or port facilities like the "Port Henri VI" on the Seine. The Parisian paintings in particular are always a piece of contemporary history: on the "Etoile", painted in 1929, for example, dozens of motor vehicles are already on the road - most of them with the box top that was common at the time and still reminiscent of earlier carriages. Loiseau was also not too ashamed to paint portraits of "normal people", such as dock workers, Parisian taxi drivers (until the First World War, many horse-drawn carriages were still in use for hire) or people attending church services in Brittany.
Gustave Loiseau died in 1935, one week after his seventieth birthday, in his home city of Paris.
The fact that Gustave Loiseau, despite his talent, has never been mentioned in the same breath as the truly famous French painters does not speak against his art, but rather for the exquisite collection of artists that this nation alone has produced. Little known to the general public outside France, his work is highly appreciated by experts and enthusiasts.
Born in Paris, Loiseau grew up in Pontoise, a community northwest of Paris, where his parents ran a butcher's shop, and initially learned the trade of a decorator. One of his first clients was the French landscape painter Fernand Quigon. His grandmother's inheritance enabled Loiseau to study painting, and he won Quigon as his first teacher. In 1890 he went to Pont-Aven in Brittany where he met Émile Bernard and Paul Gauguin. For more than thirty years he had his residence and studio in Auvers-sur-Oise, east of Paris.
The 1890s were the heyday of pointilism, embodied among others by Paul Signac , and the post-impressionists. One style of painting emerged more or less from the other or merged with it - Loiseau experimented with both and gradually created his own style from them. His speciality became landscape paintings of the same object at different seasons: Just as Claude Monet - incidentally, this was Loiseau's declared model, along with Camille Pissarro - painted Rouen Cathedral at every conceivable time of day, Loiseau often captured the same field or garden on canvas in different months. Nevertheless, he also depicted countless Parisian streets, from the Place da la Bastille (1922) and the "Étoile" (1929) to rather unknown side streets such as the "Rue de Clignancourt" or port facilities like the "Port Henri VI" on the Seine. The Parisian paintings in particular are always a piece of contemporary history: on the "Etoile", painted in 1929, for example, dozens of motor vehicles are already on the road - most of them with the box top that was common at the time and still reminiscent of earlier carriages. Loiseau was also not too ashamed to paint portraits of "normal people", such as dock workers, Parisian taxi drivers (until the First World War, many horse-drawn carriages were still in use for hire) or people attending church services in Brittany.
Gustave Loiseau died in 1935, one week after his seventieth birthday, in his home city of Paris.