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Eugene Galien-LaloueThe Paris Hotel de Ville , Watercolor signed Signed E. Galien Laloue, circa 19201920
1920
$23,004.36
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€19,200
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About the Item
View of Paris: The Hotel de Ville banks and the statue of Etienne Marcel under Snow
Watercolor
Signed E. Galien Laloue, circa 1910-1920
Appraisal by Mr Noé Willer.
(Will figurate in the tome 2 of the "catalogue raisonné" of the work of Galien Laloue)
Etienne Marcel was provost of the merchants and the one who use to control the city of Paris from 1355. He bought the « maison aux piliers » to house the municipal power in 1357. But when in 1358 he opposed the Dauphin and raises the population of the Island City against the future Charles V. These alliances with Charles the Bad and the British are destroying him and he was decapitated at the Porte Saint-Antoine 31 July 1358.
Eugène Galien Laloue was born on December 11, 1854 in Montmartre, the oldest of eventually nine children. Young he had decided to become a painter. He exhibited for the first time in 1876 at the Museum of Reims, showing Le quai aux fleurs sous la neige (Flower Market Along the Seine Under the Snow). The following year he exhibited for the first time at the annual Parisian Salon, showing En Normandie (In Normandy) as well as two gouaches. He preferred executing gouaches since they were less time consuming as his oils and brought comparable prices.
He had a reclusive personality, which also may explain the reasons behind his numerous pseudonyms as Eugène Galien Laloue was particularly adept at establishing several identities, since over the course of his career he worked under three pseudonyms: J. Lievin, E. Galiany and L. Dupuy. While these are three confirmed names that he used, there is the possibility that he used other names as well. Even his name “Galien” is questionable, since on occasion he spelled it with one “l” and on his birth certificate it is spelled “Gallien”.
Despite preoccupation with the reclusive nature of this man, he depicted Paris and the surrounding landscape with his cool palette; in doing so he became another recorder of popular Parisian life. He balanced his architectural interest in Paris with several landscape views and was an equally if not more proficient draughtsman. He preferred the solitariness of his studio and thus did not paint his works entirely on-site. Unlike many other artists as well, he did not like to travel and many of his views of other cities or countries were inspired by postcards and photographs, an increasing tendency with many artists as photography became a more established method of use.
During the first two decades of the twentieth century he also exhibited at Dijon, Orléans, Versailles, Roubaix, Saint Etienne, Bordeaux, Monte Carlo, Hautecoeur, among several other cities.
He had become very popular with both French and especially American artists and continued to paint the same scenes of Paris throughout his career. He died on April 18th, 1941.
Dimensions without frame Height: 19.5 cm Width: 31.5 cm
Dimensions with Frame: Height: 47cm Width: 56 cm
Perfect condition !
- Creator:Eugene Galien-Laloue (1854 - 1941, French)
- Creation Year:1920
- Dimensions:Height: 7.68 in (19.5 cm)Width: 12.41 in (31.5 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Paris, FR
- Reference Number:Seller: D171stDibs: LU1144212517952
Eugene Galien-Laloue
He was born on December 11, 1854 in Montmartre, the oldest of eventually nine children. He exhibited for the first time in 1876 at the Museum of Reims, showing Le quai aux fleurs par la neige (Flower Market Along the Seine Under the Snow). The following year he exhibited for the first time at the annual Parisian Salon, showing En Normandie (In Normandy) as well as two gouaches. He preferred executing gouaches since they were less time consuming as his oils and brought comparable prices. At this time his teacher was listed as being M.C. Laloue, Claude Laloue, perhaps his late father who would have taught him a more academic approach or an uncle.
From the beginning of his career and perhaps spurred by his travels along the railway lines, Galien Laloue became interested in showing the natural environment. While not uncommon, it was perhaps an interesting theme for an artist who did not necessarily seek to connect with nature and while painting en plein-air.
He had a reclusive personality, which also may explain the reasons behind his numerous pseudonyms. He preferred the solitariness of his studio and thus did not paint his works entirely on-site. Unlike many other artists as well, he did not like to travel and many of his views of other cities or countries were inspired by postcards and photographs, an increasing tendency with many artists as photography became a more established method of use. Noë Willer further elaborates upon the unique personality of this artist (pg. 16):
Once again we mention Mr. Eugène Galien Laloue for his lovely gouaches, as full as oils, which show most picturesquely the popular quarters of Paris.
During the first two decades of the twentieth century he also exhibited at Dijon, Orléans, Versailles, Roubaix, Saint Etienne, Bordeaux, Monte Carlo, Hautecoeur, among several other cities. Galien Laloue continued to paint until 1940, when he broke the arm with which he held his brush. Despite his reluctance to integrate himself with others, his paintings offer a record of late nineteenth and early twentieth century Paris, focusing not so much on the relationship between its citizens, but more so on the architectural aspects of the city. He moved out of Paris many times to depict the landscapes of Normandy and the surroundings of Barbizon, making his home for a short time in Fontainebleau. While his Parisian scenes were often of the fall and winter, he preferred to document the landscape during the brighter months of spring and summer. He also documented life along the canals and banks of the sea and rivers, showing an interest in maritime exploits. He had become very popular with both French and especially American artists and continued to paint the same scenes of Paris throughout his career. He died in his daughter’s house in Chérence, where they had taken refuge at the beginning of the Second World War, on April 18th, 1941.
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