Gaston La Touche Art
French, 1854-1913
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.to
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French Impressionist Watercolor Signed by Gaston La Touche in Nymph Frame
By Gaston La Touche
Located in Pistoia, IT
"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 s...
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Early 20th Century Art Nouveau Gaston La Touche Art
Materials
Watercolor
Gaston La Touche, L'Après-midi d'un faune, huile sur toile
By Gaston La Touche
Located in BOULOGNE-BILLANCOURT, FR
Cette huile sur toile est caractéristique de la production singulière de Gaston La Touche à partir de 1890 et reflète son univers plastique, marqué par certains motifs récurrents, te...
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Late 19th Century Symbolist Gaston La Touche Art
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Gaston La Touche, La Barque, aquarelle et gouache sur papier
By Gaston La Touche
Located in BOULOGNE-BILLANCOURT, FR
Cette aquarelle témoigne de l'intérêt de Gaston La Touche pour ce médium à partir de la fin des années 1890. En 1897, il expose ainsi ses premières aquarelles au Salon de la Société ...
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Late 19th Century Gaston La Touche Art
Materials
Watercolor, Gouache
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Conrado Walter Massaguer y Diaz was a Cuban artist, political satirist, and magazine publisher. He is considered a student of the Art Nouveau. He was the first caricaturist in the world to broadcast his art on television.He was first caricaturist to exhibit on Fifth Avenue. He was the first caricaturist in the world to exhibit his caricatures on wood. He, and his brother Oscar, were the first magazine publishers in the world to use photolithographic printing.
Self portrait of Conrado Walter Massaguer, depicted on a carrousel ride, with the devil over his left shoulder and an angel over his right. (1945)
He created the magazine Social with his brother Oscar to showcase Cuban artistic talent. The duo later created the magazine Carteles, which became for a period the most popular magazine in Cuba, which was purchased by Miguel Ángel Quevedo in 1953.
In his life, he met and drew caricatures of Franklin D. Roosevelt, Walt Disney, Albert Einstein, the King of Spain, and many others.[ In sum total, he was the author of more than 28 thousand caricatures and drawings.Ernest Hemingway once had to refrain himself from punching Massaguer in the face after the artist drew an unflattering caricature of him. The dictator Gerardo Machado, however, did not punch Massaguer for his own unflattering caricature - he had the artist deported.
He was one of the most internationally renowned Cuban artists of his day, and his art is still regularly featured in galleries across the Western Hemisphere and Europe.
Early life
Massaguer was born on October 18, 1889, in Cárdenas, Cuba.[In 1892, his family moved to Havana.
When the Cuban War of Independence broke out, Massaguer's family escaped the country. From 1896 to 1908, he lived in Mérida, Mexico. However, during this time, his parents enrolled him in the New York Military Academy, where he stayed during school years.
In 1905, after graduating the military academy, he briefly attended the San Fernando school in Havana, where he was tutored by Ricardo de la Torriente and Leopoldo Romañach.
In 1906, less than a year later, he returned to the family home in Mexico.
Career as artist
Early career
While living in Yucatán, Mexico, Massaguer published his first caricatures in local newspapers and magazines. These included La Campana, La Arcadia, and the Diario Yucateco.
In 1908, he moved back to Havana. After returning to the island in 1908, Massaguer began mingling with Havana's aristocratic circles, forming close friendships with some of the city's most powerful and influential men, as well as winning the favor of many women who were quickly charmed by him. Massaguer, largely self-taught, honed his style using the avant-garde techniques he studied from the European and American magazines that were widely available in Cuba at the time.
Cover of the immensely popular Cuban magazine El Figaro, drawn by Massaguer in 1909. This cover depicts two bumbling, incompetent American tourists to the island.
He started drawing for El Fígaro, and was featured prominently on the cover in 1909.
After two years of refining his craft, Havana announced a poster contest aimed at attracting North American tourists to stay in the city during the winter months. Notable figures like Leopoldo Romañach, Armando Menocal, Rodríguez Morey, Jaime Valls, and others also entered the competition. The jury was particularly impressed by the modern execution and creative solution of one piece, signed by Massaguer, who was relatively unknown at the time.
The jury deliberations caused a great controversy.[5] The prize was ultimately awarded to the Galician painter Mariano Miguel, who had recently married the daughter of Nicolás Rivero, the wealthy owner of the conservative newspaper Diario de la Marina. Although Massaguer received only an honorable mention, the fraud scandal caused such an uproar that his name quickly entered the public spotlight, and he became an overnight sensation.
In 1910, he became co-owner of the advertising agency Mercurio, with Laureano Rodríguez Castells. At Mercurio, he led the Susini cigar campaign, and earned substantial wealth.
Massaguer has been described as a restless man, in both mind and body.After earning enough money from his art to begin traveling, he was almost always doing so. He constantly traveled between New York City and Havana, Mexico and France, Europe and the Americas.
In 1911, his reputation among the Havana socialites solidified when he organized his own first public caricature exhibit, and also the first Caricature Salon ever held in the Americas, hosted at Athenaeum of Havana (the Ateneo), and the Círculo de La Habana. Other exhibitors here included Maribona, Riverón, Portell Vilá, Valer, Botet, Barsó, García Cabrera, Carlos Fernández, Rafael Blanco, and Hamilton de Grau.
"Messaguer Visits Broadway." Caricatures of theatrical and literary figures. Elsie Janis, Raymond Hitchcock, S. Jay Kaufman (columnist), Ibanez, author of The Four Horsemen, and Frances White
In 1912, in the New York American Journal, he published his first Broadway drawings.
From 1913 to 1918, he was an editor for Gráfico.
Social
Main article: Social (magazine)
Cover of the magazine Social, July 7, 1923
In 1916, he created the magazine Social with his brother, Oscar H. Massaguer. Social's contributors included Guillén Carpentier, Chacón y Calvo, Enrique José Varona and others.Social has been described as Massaguer's great love in the magazine industry, and was the property that historians say he cared the most about. Social was an innovative magazine, being the first magazine in the world to use a modern printing process called photolithographic printing.
Social set cultural trends, not only in the fashion of Cuba, but in art, politics, and Cuban identity.[11] Social catered to a certain aesthetic in Cuba - that of the sophisticated elite socialite - but Massaguer would also use this magazine to ridicule and jibe against that same class of society when he found their personalities worthy of his contempt.
In Social, readers could find a variety of content, including short stories, avant-garde poetry, art reviews, philosophical essays, and serialized novels, as well as articles on interior design, haute couture, and fashion. Occasionally, the magazine also featured reports on sports such as motor racing, rowing, tennis, and horse riding.The cultural promotion efforts of both Massaguer and Emilio Roig de Leuchsenring are evident in the magazine. Notably, this period overlaps with their involvement in the Minorista Group, which was then at the forefront of the country's intellectual life.[5] Many contributors were devoted members of the group, leading some experts to consider Social as the cultural voice of the Minoristas.
One of the features of Social magazine was its section called "Massa Girls," which was a play on his own name, and pronounced with a glottal 'g' in a similar fashion to the letter in Massaguer.[12] Massaguer drew women as independent and free-thinking, and never drew the woman celebrity as a caricature of herself, but as a free agent surrounded by caricatures.[11] However, Massaguer himself has been described as a womanizer in his personal life, and hesitant to fully embrace every facet of women's liberation.
In 1916, he also established la Unión de Artes Gráficas and the advertising agency Kesevén Anuncios.[9]
The art critic Bernardo González Barroa wrote:
“Massaguer has solved the problem of working hard, living comfortably off what his art produces and not missing any artistic, sporting or social event. His broad, childish laugh, of a carefree individual who carries his luck hidden in a pocket, appears everywhere for the moment, disguising the pranks of pupils that lurk, mock and, finally, flash with satisfaction at finding the characteristic point after having analyzed a soul... Massaguer's personality is beginning to solidify now. He has been the best-known and most popular caricaturist for a long time, but his technique had not reached the security, the mastery of values that he presents in his latest works, which is very natural and explainable”[5]
Carteles
Main article: Carteles
Cover of the magazine Carteles, November 29, 1931
In 1919, Massaguer and his brother created the magazine Carteles.[9] Carteles gained the widest circulation of any magazine in Latin America, and the most popular magazine in Cuba for a time, until that title was claimed by Revista Bohemia. Carteles remained in print until July 1960.This magazine showcased Cuban commerce, art, sports, and social life before the revolution.
In 1924, Carteles took a more political turn, with articles criticizing Gerardo Machado's government. it became a prime example of the humor and graphic design employed by artists like Horacio Rodríguez Suria and Andrés García...
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"#71 – THEN IT'S HOPELESS?" is from Amy Williams' series A Farewell to Arms – wherein the artist is working directly onto page 71 of a found copy of Ernest Hemingway's WWII romance novel. The artist selects certain words and phrases from the page to isolate as a poem, and then draws, inks, redacts and paints the rest of the page according to the text of the poem. Here the poem reads: "Then it's hopeless? / But sometimes I cannot hope. / I cannot." Note the poem is outlined in dark red and purple radiating lines, while outside there are lighter violet, blue and white lines.
From Amy Williams – "My recent work is focused on making treated book pages using a found vintage...
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7 ¾ x 22 inches (sight)
Gouache, pencil, and charcoal on board, c. 1940s
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Previously Available Items
Le Chariot - Post Impressionist Oil, Figures at Night by Gaston La Touche
By Gaston La Touche
Located in Marlow, Buckinghamshire
Signed figurative oil on panel circa 1890 by sought after French post impressionist painter Gaston La Touche. This stunning piece depicts a man and a woman in the back of a carriage ...
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1890s Post-Impressionist Gaston La Touche Art
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Commedia dell'arte - Impressionist Oil, Figures in Interior by Gaston La Touche
By Gaston La Touche
Located in Marlow, Buckinghamshire
A wonderful oil on canvas by French impressionist painter Gaston La Touche depicting performers in a Commedia dell'arte - a popular form of theatre characterised by masked actors who...
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1890s Impressionist Gaston La Touche Art
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La Telephone - 19th Century Oil, Elegant Woman in Interior by Gaston La Touche
By Gaston La Touche
Located in Marlow, Buckinghamshire
Oil on panel by Gaston La Touche depicting an elegant woman in a white gown standing by the windows as she speaks on the telephone. The light coming the sheer, red curtains illuminat...
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Late 19th Century Impressionist Gaston La Touche Art
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Oil, Panel
Gaston La Touche art for sale on 1stDibs.
Find a wide variety of authentic Gaston La Touche art available for sale on 1stDibs. You can also browse by medium to find art by Gaston La Touche in oil paint, paint, panel and more. Much of the original work by this artist or collective was created during the 19th century and is mostly associated with the Impressionist style. Not every interior allows for large Gaston La Touche art, so small editions measuring 40 inches across are available. Customers who are interested in this artist might also find the work of Maximilien Luce, Emile Godchaux, and Jean-Baptiste-Antoine Guillemet. Gaston La Touche art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $248,500 and tops out at $248,500, while the average work can sell for $248,500.