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Gaston La ToucheFrench Impressionist Watercolor Signed by Gaston La Touche in Nymph Frame1900
1900
$1,897.02
£1,412.58
€1,600
CA$2,606.61
A$2,917.29
CHF 1,522.60
MX$35,575.89
NOK 19,487.22
SEK 18,447.15
DKK 12,179.40
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About the Item
"Nymph in the Forest" watercolor on paper signed Gaston La Touche.
Gaston de La Touche (1854-1913), also known as Gaston La Touche, was a French painter, engraver, illustrator and sculptor.
Born in Saint-Cloud in 1854 to a family originally from Normandy, Gaston La Touche shared his life between his Clodoaldian home and the Gros-Douet estate in Champsecret in the Orne, which he inherited from his mother. Self-taught, he took up art practice against his parents' advice and exhibited at the Salon des Artistes français in 1874 in the sculpture section. In the end it is the painting that will choose. His career can be divided into two main periods. The first period, which can be described as "realist," is marked by the influence of Emile Zola (1840-1902)-whose Assommoir he illustrated in 1879: the themes chosen are scenes from the daily life of the working classes, black interiors reflecting the poverty of this century such as Kitchen Corner (oil on canvas, private collection, London) and L'Accouchée (oil on canvas, 1883, private collection, London). During this period he frequented the artists of the Café de la Nouvelle Matthieu and met in particular Edouard Manet (1832-1883), whose pupil he considered becoming for a time. Ultimately we know relatively little about the works from this period, as the artist himself chose to destroy most of them by fire.
Indeed, Gaston La Touche's change of style seems quite radical. Beginning in the 1890s he began to produce luminous paintings on more joyful themes that appealed to the public. This rebirth corresponds to the painter's decisive encounter with the engraver Félix Bracquemond (1833-1914), his near-neighbor (Bracquemond lived in Sèvres), whom he considers his master and to whom he pays homage in a double portrait preserved at the Musée d' O. 'Orsay (Bracquemond and his Disciple, 1906, oil on canvas). La Touche is one of the first artists to exhibit at the new Salon of the Société Nationale des Beaux-Arts, of which Bracquemond is one of the founders. His career took on new momentum with subjects that corresponded to the tastes of Belle Époque society: scenes inspired by 18th-century gallant paintings and spectacles of the elegant society life of Paris and Saint-Cloud. Like his contemporaries, he was interested in theater interiors, as in his painting L'Entracte (oil on canvas, private collection), which clearly transcribes the elegance of Parisian theaters around 1900.
Touche is also a keen observer of behind-the-scenes, intimate couples and romantic feelings, for example in Le Pardon, ou l'éternel lie (Oil on panel, private collection, London) where a woman receives an apology from a man kneeling before her. Imbued with his careful observation of nature and the environment in which it evolves, the artist paints "by inspiration," creating paintings with a sometimes fantastic side. Inspired by Perrault's tales (Le Mariage de Riquet à la houppe, oil on canvas, Musée d'Orsay), he also depicts scenes out of his imagination (La Rencontre au port, oil on canvas, 1897, Saint Cloud City Hall) . Humor is not absent in his paintings when he uses the image of the monkey used by Watteau and Chardin, to parody the role of the painter (The Genius Painter, or The Famous Painter, oil on panel, private collection, London). It is with another recurring animal in his outdoor scenes, the swan, that La Touche expresses melancholy and death in Black Swans and White Swans (oil on canvas, 1894, Marie de Saint-Cloud) belonging to Madame Gounod, widow of the famous composer.
The painter's oeuvre thus appears very varied, color being the common point in his works after 1890. A beautiful yellow light emanates from his paintings, even in the darker ones like the Swans. His mastery of color can also be seen in the Live Studies, a series of colorful sketches that the artist had exhibited during his lifetime and that impressed critics of the time (Studies, oil on panel, private collection, Paris). This series of landscapes continues in View of Paris-The Eiffel Tower (oil on canvas, 1899, private collection, London) and Chartres Cathedral (oil on canvas, 1899, Departmental Museum of the Oise) where the light effects are reminiscent of Monet. There is a spontaneity in these paintings that is not found in his more complete and dense interior paintings.
A colorist artist, La Touche also demonstrates a perfect mastery of watercolor and pastel. His works made with these techniques have an evanescent side that corresponds perfectly to the subject evoked, whether spiritual (The Bringing of the Cross, watercolor and tempera, 1893, Reims, Saint-Niaise Church) or fantastic.
These works also bring him closer to Symbolist artists-although he rejects this term. This is precisely what we can observe in our watercolor, where the fantastical subject of a young nymph hidden behind a tree brings to life a glimpse of a forest veiled in an evanescent mist.
The beautifully preserved watercolor still has its original frame bearing the label "G. La Touche."
The watercolor is accompanied by an Italian Fine Arts export certificate and can be shipped immediately in a wooden crate via MBE.
- Creator:Gaston La Touche (1854-1913, French)
- Creation Year:1900
- Dimensions:Height: 7.49 in (19 cm)Width: 8.08 in (20.5 cm)
- More Editions & Sizes:acquarello cm 15,5 x 14Price: $1,897
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Pistoia, IT
- Reference Number:1stDibs: LU2746215883382
Gaston La Touche
Gaston La Touche, artiste majeur de la fin du XIXe siècle et du début du XXe siècle, a débuté sa carrière dans un style naturaliste inspiré par Manet et Zola, avant d'évoluer vers une esthétique plus joyeuse et personnelle à partir des années 1890. Il s’illustre notamment par des scènes de fêtes, des portraits et des paysages bucoliques, dans lesquels la lumière et la couleur jouent un rôle central. Cette transformation stylistique lui vaut d'être comparé aux peintres rococo du XVIIIe siècle et surnommé "le fils de Watteau". Au cours de sa carrière, Gaston La Touche a exposé très fréquemment ses oeuvres, avec la Société des artistes français de 1874 à 1889, puis à la Société nationale des beaux-arts à partir de 1890, ainsi qu'avec la Société Nouvelle, les Aquarellistes et les Pastellistes. Célébré de son vivant comme l'un des acteurs majeurs de la peinture décorative, son talent lui a permis d'être décoré chevalier de la Légion d’honneur en 1900, puis officier en 1909.
Ses oeuvres sont présentes dans de nombreux musées en France et dans le monde entier.
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