Félix Bracquemond, a friend and associate, suggested that he might be more successful if he brightened his color palette and chose different subjects, recommending Antoine Watteau and François Boucher as models. His first painting was shown at the Salon the following year. The Joyous Festival Dinner at the Casino, Dayton Art Instituteīeginning in 1880, he produced dark toned works of social realism in the style of the Dutch Masters. It was there that he was introduced to Émile Zola, some of whose works he would later illustrate. Between 18, he made the acquaintance of Edgar Degas and Édouard Manet, who he met with frequently at the Café de la Nouvelle Athènes. Nevertheless, in 1875 he was able to make his début at the Salon with a bas-relief portrait medallion of François Jules Edmond Got, an actor at the Comédie-Française, and several etchings. This would be all the formal art training he ever received. His lessons had to be cancelled at the start of the Franco-Prussian War, when his family returned to Normandy to ensure their safety. His passion for art began at a very early age and he finally persuaded his parents to give him drawing lessons, which he took for ten years from a local instructor at the rate of three Francs per month. His family originally came from Normandy. Gaston La Touche, or de La Touche (24 October 1854 – 12 July 1913), was a French painter, illustrator, engraver and sculptor.īiography Gaston La Touche in his Saint-Cloud studio, published in The Studio, March 1899. The refusal of any such licences shall not permit the cancelling of any sale nor allow any delay in making full payment for the lot.French painter (1854–1913) Gaston de La Touche (1913?) The need for import licences varies from country to country and you should acquaint yourself with all relevant local requirements and provisions before bidding. Details can be found on the ACE website or by phoning ACE on 020 7973 5188. Export licences are issued by Arts Council England and application forms can be obtained from its Export Licensing Unit. Export of goodsīuyers intending to export goods should ascertain whether an export licence is required before bidding. Auctioneers will apply current exchange rates. Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a re-sale royalty each time their work is bought through an auction house or art market professional. VAT is not charged on the hammer price unless it is stated that there is 'VAT applicable on the hammer price at the end of the description. The premium price is subject to VAT at the standard rate. The buyer shall pay the hammer price together with a premium thereon of 26% up to £20,000 (31.2% inclusive of VAT), 25% from £20,001 - £500,000 (30% inclusive of VAT), 20% from £500,001 thereafter (24% inclusive of VAT). We are grateful to Roy Brindley and Selina Baring Maclennan for their assistance in cataloguing this lot, which is to be included in the forthcoming catalogue raisonné currently in preparation. A particularly impressive example of La Touche s work is on display at the Royal Pavilion in Brighton. His works are in prestigious collections around the world, such as the Musée d Orsay in Paris, the Art Institute in Chicago, and the Art Gallery of New South Wales, Sydney. La Touche was a member of the Societé National des Beaux Arts and the Societé des Artistes Francais, and was awarded the Legion d honneur in 1900. Interestingly, the chair in which the mother is depicted as sitting in is still in the family's collection. La Touche s style also exhibits the influence of the Impressionist movement which was developing around him, as is evident in the free and loose application of paint, imbuing the scene with a sense of spontaneity and informality which is evident throughout much of the artist s work.ĭespite combining these influences, this work exhibits La Touche s own unique and instantly recognisable style which is evident, for example, in his liberal use of vibrant yellow tones in the window. The subject-matter of this painting, as an intimate depiction of a maternal scene, recalls the work of seventeenth-century European genre painters, whilst its execution displays the influence of artists such as Jean-Antoine Watteau and François Boucher. Note: This piece is a wonderful example of the work of the 19 th -century French painter Gaston La Touche. Provenance: Private Collection, Paris Alon Zakaim, London, where purchased by the present owner. Oil on cradled panel, signed lower left, 76 x 80cm
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