Leighton Fine Art Ltd

A charming riverscape oil on canvas by Danish Realist painter Peder Mork Monsted. The painting depicts a beautiful spring landscape on a bright day. A man stands fishing on the bank of a river outside a pink cottage. Flowers are bursting into life on the riverbank and int he cottage garden. Signature: Signed, titled and dated 1920 lower left Original artist's label verso Dimensions: Framed: 20"x26" Unframed: 14"x20" Provenance: Private collection - Denmark Mønsted was born at Grenå, Denmark. He was the son of Otto Christian Mønsted and Thora Johanne Petrea Jorgensen. His father was a prosperous ship-builder. At an early age, he began to receive painting lessons at the art school in Aarhus. From 1875 to 1879, studied at the Royal Academy of Fine Arts with Niels Simonsen and Julius Exner. In 1878, Mønsted studied under the artist Peder Severin Krøyer. In 1882, he spent some time in Rome and Capri then, the following year, visited Paris, where he worked in the studios of William Adolphe Bouguereau. In 1889, he went to Algeria. Three years later, he travelled to Greece, where he was a guest of King George I who had been born a Danish prince. While there, he also did portraits of the Greek royal...

Landscape oil on panel circa 1890 by French Post Impressionist painter Louis Hayet. The cityscape depicts elegant figures and horses and carts in Les Grands Boulevards in Paris, France. Signature: Signed lower right and titled verso Dimensions: Framed: 12.25"x15.5" Provenance: The collection of Andre Metthey...

Impressionist oil painting on original canvas circa 1900 by French painter Jean Baptiste Armand Guillaumin. This simply beautiful piece...

Impressionist pastel on board by French painter Jean Baptiste Armand Guillaumin. The piece depicts a view of landscape with trees to th...

Signed oil on panel circa 1910 by French impressionist painter Marie Duhem. The work depicts two women collecting vegetables beside a woodland at autumn time. The sun glows yellow as...

Impressionist garden landscape oil on panel painting circa 1902 by French painter Marie Duhem. The work depicts a white ornate planter in the centre of ...

Post impressionist signed and dated oil on paper laid on panel by French painter Paul Elie Gernez. The work depicts a woman wearing a black dress with...

A simply beautiful French Impressionist School oil on canvas of an elegant woman wearing a white blouse and black skirt and hat seated in a chair reading. Her parasol rests against t...

A beautiful and charming oil on panel circa 1890 by French realist painter Paul Druard. The work is a depiction of farm life. A mother is seated on the grass with a daughter seated t...

Wonderful figures in night landscape oil on canvas circa 1904 by French impressionist painter and illustrator Andre Devambez. The piece depicts demonstr...

Wonderful oil on panel circa 1920 by French impressionist painter Andre Devambez. The work depicts a soldier leading his horse along a dirt track during...

A stunning large oil on canvas circa 1900 by French painter Ferdinand Deconchy. The work depicts two seamstresses dressed in blue blouses and skirts...

Large signed landscape oil on canvas circa 1920 by sought after French post impressionist painter Victor Charreton, who was known as the painter of colours. The work depicts a woman ...

A wonderful oil on canvas circa 1930 by Tunisian post impressionist painter Albert Braitou-Sala. The work depicts a beautiful, blonde nude laid back on a white sheet surrounded by clouds in a blue-grey sky. A stunning piece. Signature: Signed lower left Dimensions: Framed: 16"x24" Unframed: 10.5"x18.5" Provenance: Private French collection Albert Braïtou-Sala studied under Adolphe Déchenaud, Henri Royer...

A charming oil on panel circa 1900 by French impressionist painter Armand Francois Henrion depicting a portrait of a happy Pierrot - a French clown - wearing white ruffles and a black hat. The portrait is contrasted by an orange-red background. Signature: Signed lower right Dimensions: Framed: 9.5"x8" Unframed: 7"x5.5" Provenance: Private French collection Armand François Joseph Henrion...

A wonderful expressionist oil on original canvas circa 1930 by Greek artist Giorgios Gounaropoulos. The piece depicts a nude woman beside trunk of a cut tree in a sparse landscape. T...

A wonderful watercolour on paper circa 1920 by French impressionist painter Henri Duhem. The work workers in a field making hay. Signature: Signed lower le...

A beautiful and delicate watercolour on paper circa 1920 by French impressionist painter Henri Duhem. The work depicts a woman in a pink dress and sun hat looking out of blue water o...

A beautiful and delicate watercolour on paper circa 1910 by French impressionist painter Henri Duhem. The work depicts a woman in a blue dress in an orchard in autumn. The trees in t...

A charming watercolour on paper circa 1905 by French impressionist painter Henri Duhem. The piece depicts a woman in a dark coat walking through a town beside a canal in the evening....

A stunning gouache on board landscape circa 1940 by sought after French Impressionist painter Edouard Leon Cortes. The piece is a wonderful depiction of the artist's garden in Lagny ...

A wonderful oil on canvas circa 1920 by French post impressionist painter Paul Elie Gernez depicting nude figures in the garden of eden. Signature: S...

Signed impressionist riverscape oil on panel dated 1863 by sought after French painter Paul Camille Guigou. The piece depicts a view of the river i...

A beautiful oil on canvas by French impressionist painter Jean Baptiste Antoine Guillemet. The piece depicts a view of a man fishing in a stream by t...

A beautiful oil on panel by French post impressionist painter Pierre de Belay. The work depicts families relaxing on the beach at Villerville under a clear bl...

Signed figures in a landscape oil on canvas circa 1870 by French impressionist painter Victor Alfred Paul Vignon. The work depicts a woman carrying a basket with a young child beside her walking along a snowy path in a Fontainebleau Forest. This early work by Vignon was painted whilst he was under the tutelage of Camille Corot in the period between 1869 and 1870 . The work shows a mother and child in the forest at Fontainebleau in winter. Many painters in Vignon's circle such as Monet, Renoir, Sisley and Bazille visited this area to paint in the late 1860's and the early 1870's. Signature: Signed lower left Dimensions: Framed: 23"x25.5" Unframed: 13.5"x16" Provenance: Galerie Commeter - Hamburg c. 1920 French exhibition customs stamps verso His mother has been incorrectly identified as the writer Claude Vignon...

A wonderful oil on panel by French impressionist painter Jean-Francois Raffaelli depicting two old men seated in an interior. One is reading his paper as the other naps and there are several kittens on the floor. Painted in the artist's distinctive style. The work is accompanied by a certificate from Brame & Lorenceau and is included in the catalogue raisonne of the painter. Signature: Signed lower left Dimensions: Framed: 9.5"x8" Unframed: 5.5"x4" Provenance: Private collection - United States Original artists label verso Jean-François Raffaëlli's father was a failed Italian businessman and Raffaëlli himself was, among other things, a church chorister, actor and theatre singer. He then studied under Gérôme at the École des Beaux-Arts in Paris. He travelled to Italy, Spain and Algeria and on his return to France settled in Asnières. In 1876, on a trip to Brittany, he first saw the potential of realist subject matter, if treated seriously. He became involved in meetings of artists at the Café Guerbois, where the Impressionist painters used to gather. As a result, Degas, contrary to the advice of the group, introduced Raffaëlli to the Impressionist exhibitions - according to one uncertain source as early as the very first exhibition, at the home of Nadar, and certainly to those of 1880 and 1881. In 1904, Raffaëlli founded the Society for Original Colour Engraving. He first exhibited at the Salon de Paris in 1870 and continued to exhibit there until he joined the Salon des Artistes Français in 1881, where he earned a commendation in 1885, was made Chevalier of the Légion d'Honneur in 1889 and in the same year was awarded a gold medal at the Exposition Universelle. In 1906 he was made Officier of the Légion d'Honneur. He was also a member of the Société Nationale des Beaux-Arts. In 1884, a private exhibition of his work cemented his reputation. He contributed to several newspapers such as The Black Cat (Le Chat Noir) in 1885 and The French Mail (Le Courrier Français) in 1886 and 1887. He published a collection entitled Parisian Characters, which captured his favourite themes of the street, the neighbourhood and local people going about their lives. In 1880 he participated, with Forain, on the illustration of Joris Karl Huysmans' Parisian Sketches (Croquis Parisiens). He also illustrated Huysman's Works. As well as working as an illustrator, he also made etchings and coloured dry-points. His early attempts at painting were genre scenes, but once he was settled in Asnières he started to paint picturesque views of Parisian suburbs. From 1879 onwards, his subject matter drew on the lives of local people. These popular themes, which he treated with humanity and a social conscience, brought him to the attention of the social realist writers of the time such as Émile Zola. In addition to his realist style, Raffaëlli's dark palette, which ran contrary to the Impressionist aesthethic, helped to explain the opposition of those painters to his participation in their exhibitions. More concerned with drawing than colour, he used black and white for most of his paintings. Towards the end of his life, he lightened his palette, but without adopting any other principles of the Impressionist technique. After painting several portraits, including Edmond de Goncourt and Georges Clémenceau, he returned to genre painting, particularly scenes of bourgeois life. Later in his career, he painted mainly Breton-inspired sailors and views of Venice. His views of the Paris slums and the fortifications, sites which have almost completely disappeared, went some way towards establishing a genre in themselves and perpetuated the memory of the area: The Slums, Rag-and-Bone Man, Vagabond, Sandpit, In St-Denis, Area of Fortifications. His realistic and witty portrayal of typical Parisian townscapes accounts for his enduring appeal. Born in Paris, he was of Tuscan descent through his paternal grandparents. He showed an interest in music and theatre before becoming a painter in 1870. One of his landscape paintings was accepted for exhibition at the Salon in that same year. In October 1871 he began three months of study under Jean-Léon Gérôme at the École des Beaux-Arts in Paris; he had no other formal training. Raffaëlli produced primarily costume pictures until 1876, when he began to depict the people of his time—particularly peasants, workers, and ragpickers seen in the suburbs of Paris—in a realistic style. His new work was championed by influential critics such as J.-K. Huysmans, as well as by Edgar Degas. The ragpicker became for Raffaëlli a symbol of the alienation of the individual in modern society. Art historian Barbara S. Fields has written of Raffaëlli's interest in the positivist philosophy of Hippolyte-Adolphe Taine, which led him to articulate a theory of realism that he christened caractérisme. He hoped to set himself apart from those unthinking, so-called realist artists whose art provided the viewer with only a literal depiction of nature. His careful observation of man in his milieu paralleled the anti-aesthetic, anti-romantic approach of the literary Naturalists, such as Zola and Huysmans. Degas invited Raffaëlli to participate in the Impressionist exhibitions of 1880 and 1881, an action that bitterly divided the group; not only was Raffaëlli not an Impressionist, but he threatened to dominate the 1880 exhibition with his outsized display of 37 works. Monet, resentful of Degas's insistence on expanding the Impressionist exhibitions by including several realists, chose not to exhibit, complaining, "The little chapel has become a commonplace school which opens its doors to the first dauber to come along."An example of Raffaëlli's work from this period is Les buveurs d'absinthe (1881, in the California Palace of Legion of Honor Art Museum in San Francisco). Originally titled Les déclassés, the painting was widely praised at the 1881 exhibit. After winning the Légion d'honneur in 1889, Raffaëlli shifted his attention from the suburbs of Paris to city itself, and the street scenes that resulted were well received by the public and the critics. He made a number of sculptures, but these are known today only through photographs.[2] His work was also part of the painting event in the art competition at the 1912 Summer Olympics. In the later years of his life, he concentrated on color printmaking. Raffaëlli died in Paris on February 11, 1924 Museum and Gallery Holdings: Béziers: Peasants Going to Town Bordeaux: Bohemians at a Café Boston: Notre-Dame; Return from the Market Brussels: Chevet of Notre-Dame; pastel Bucharest (Muz. National de Arta al României): Market at Antibes; Pied-à-terre Copenhagen: Fishermen on the Beach Douai: Return from the Market; Blacksmiths Liège: Absinthe Drinker...

A beautiful watercolour on paper circa 1919 by French impressionist painter Henri Duhem depicting a view of Lake Geneva in Montreux, Switzerland with the mountains beyond. Signatur...

A beautiful watercolour on paper circa 1910 by Henri Duhem depicting an autumn landscape - with a path weaving through broken fences, yellow flowers and a bare tree, with a cottage i...

Stunning signed landscape oil on canvas circa 1910 by sought after French post impressionist painter Victor Charreton. A wonderful and colourful depiction of a green church garden la...

Beautiful signed landscape oil on canvas circa 1910 by sought after French post impressionist painter Victor Charreton. The piece depicts a lone figure trudging through the thick whi...

A wonderful oil on paper laid on canvas circa 1905 by French neo-impressionist painter Theo Van Rysselberghe depicting a climbing rose - the pink of the flowers contrasting against the green and yellow of the leaves. Signature: Signed lower right Dimensions: Framed: 23"x23" Unframed: 17"x17" Provenance: This work is included in the Catalogue Raisonne of Theo van Rysselberghe by Ronald Feltkamp under the reference P-032 Sotheby's, New York, November 5, 1969, lot 83 Christie's, Amsterdam, June 9, 2004, lot 87, Lancz Gallery, Brussels, Private collection, United Kingdom Exhibition: Le Lavandou...

Stunning signed oil on board circa 1920 by sought after French post impressionist painter Victor Charreton. The piece depicts a cottage amongst bare trees with snow...

Signed figure in landscape oil on board circa 1910 by sought after French post impressionist painter Victor Charreton. This charming piece depicts a young girl in a pink dress and ha...

Signed oil on canvas dated 1924 by French impressionist painter Jules Leon Flandrin. This stunning piece depicts the scenery of the bridge Pont Saint Michel over the River Seine in P...

A wonderful oil on board circa 1920 by sought after French post impressionist painter Victor Charreton, who was known as the painter of colours. The piece depicts a figure walking th...

A stunning oil on canvas urban landscape by sought after French post-impressionist painter Jacques Martin-Ferrieres. The piece depicts a very rare view of the Manhattan skyline - pai...

A wonderful oil on paper by Dutch impressionist painter Johan Barthold Jongkind depicting a view of the calm blue sea off the coastline of Marseille. This work is stamped with the c...

A wonderful pointillist oil on canvas by French post-impressionist painter Jacques Martin-Ferrieres. The piece depicts people visiting a bustling fair - Salon des arts ménagers (Hous...

A wonderful oil on canvas circa 1908 by French post impressionist painter Henri Liénard de Saint-Délis depicting a boat docked at the harbour in the harb...

A charming oil on board circa 1910 by sought after Post-Impressionist painter Victor Charreton. Charreton was said to be the painter of colours and this piece, which depicts an allot...

A beautiful oil on panel by French post-impressionist painter Jacques Martin-Ferrieres depicting a view of lone gondolier rowing his gondola with a backdrop of the city of Venice in ...

Signed and dated figures in seascape oil on panel by Belgian impressionist painter Alfred Emile Leopold Stevens. The work depicts an elega...

A beautiful watercolour and chalk on paper circa 1860 by French Barbizon painter Henri Joseph Harpignies. The piece depicts figures beside the river Seine in Paris with a view of the Île de la Cité and the Notre Dame Cathedral behind on what looks to be a cool autumn day with the leaves of the trees beginning to turn brown. Signed lower right. Dimensions: Framed: 20"x23.5" Unframed: 10"x13.5" Provenance: M. Knoedler & Co. New York Christie's - New York Saint-Privé is a French commune located in the department of Yonne in region Bourgogne-Franche-Comt Born in Valenciennes, Henri Harpignies...

An exceptional oil on canvas circa 1910 by French Impressionist painter Pierre Eugène Montezin depicting figures and a horse & cart on a bridge over the river. Beautifully painted an...

Watercolour on paper circa 1925 by French Impressionist painter Henri Duhem depicting a woman standing near a small white chalet house in the hill near Lake Geneva (Lac Léman in Fren...

Watercolour on paper circa 1907 by French Impressionist painter Henri Duhem depicting a a man standing beside a small wooden house in a rural French landscape. Signed lower left. Thi...

Watercolour on paper circa 1905 by French Impressionist painter Henri Duhem depicting a view of a canal - the surrounding buildings and bridge reflecting in the tranquil water as the...

Watercolour on paper circa 1910 by French Impressionist painter Henri Duhem depicting fishing boats moored up as the sky in the distance glows pink as the sun sets. Signed lower left...

A lovely watercolour on paper circa 1905 by French Impressionist painter Henri Duhem depicting a woman in a blue dress taking a stroll along the path beside a stream. The trees and f...

Signed expressionist oil on canvas portrait circa 1942 by French painter Jean Albert Pougny. The work depicts a violinist in an interior. Signatur...

A wonderful still life oil on canvas by French painter Jean Albert Pougny depicting a pipe sitting in a pot on a patterned cloth. Signed lower right...

A large oil on canvas by French Impressionist painter Henri Duhem depicting men on a blander - a small flat bottomed craft - on a canal on a frosty morning. Signed lower left. This p...

A beautiful oil on panel by French Impressionist painter Henri Duhem depicting two men sailing on a barge along the canal on a cool autumn's day. Signed lower left and dated 1907 ver...

A lovely oil on panel by French Impressionist painter Henri Duhem, depicting a family outside cottages in a village on a summer's day. Signed lower left and dated 1913 verso. This pa...

A lovely oil on panel by French Impressionist painter Henri Duhem, depicting two women on a path beside an old farm building in a summer landscape. Signed lower left and dated 1907 v...

Watercolour on paper circa 1925 by Henri Duhem depicting a woman in a yellow summer dress playing tennis on a bright sunny day. Signed and titled l...

A wonderful oil on artist's board by French Impressionist painter Henri Duhem depicting beautiful purple wisteria on the side of a building as a cat walks through the courtyard and t...

Oil on panel by French Impressionist painter Henri Duhem depicting an autumnal landscape. Two figures are by the canal beneath almost bare trees while a barge sails by, and the sun s...

THIS WORK IS CURRENTLY ON LOAN TO THE MUSEUM OF MODERN ART IN LE HAVRE AND IS BEING EXHIBITED IN THEIR ELECTRIC NIGHTS EXHIBITION 2020 A stunning oil on original canvas by Achile-Emile Othon Friesz depicting a night time view of the Pont Neuf bridge over the Seine, Paris. The painting shows deep blues and reds - richer than those of traditional impressionist paintings - and shows the transition into Fauvism. Signed and dated 1903 lower right. Framed dimensions are 24.5 inches high by 20 inches wide. Achille Friesz was the son of a family of sailors from Le Havre. From 1885 he often spent time in Marseilles visiting his maternal uncles. As a child he dreamed of going to sea, but from the age of 12 he developed a passion for art, and after secondary school he attended the École des Beaux-Arts in Le Havre. There, from 1896 to 1898, he studied under Charles-Marie Lhullier who had been a friend of Jongkind and whom, like Dufy and Braque, he remembered fondly throughout his life. Lhullier introduced his students to the work of Chardin, Corot, Géricault and Delacroix. After receiving a bursary from the local authorities in 1898, he went to Paris and, while his friends Matisse, Rouault and Marquet studied under Gustave Moreau, enrolled at the École des Beaux-Arts at the studio of Léon Bonnat, where he was joined by Dufy. However, he scarcely attended the studio, preferring to go to the Louvre and make copies of the works of Clouet, Veronese, Rubens, Claude Lorraine and Delacroix. He did his military service in Paris in 1902 but continued with his art. Around this time he met Camille Pissarro and sought his advice. As a young man he began to make frequent trips away, not necessarily travelling very far, but looking for subjects for his work, usually landscapes. Among the places he visited were the Creuse region around 1903, Antwerp in 1905, returning there with Braque in 1906, and La Ciotat, Cassis and L'Estaque in 1906-1907, again in the company of Braque. In Paris he frequently moved lodgings until 1914. He moved in with Henri Matisse at the Couvent des Oiseaux from 1905-1910, that is to say at the period when Fauvism was at its height. In 1908 he returned to his native Normandy to reimmerse himself in his early environment; he would return to the region throughout his life. He made a trip to Munich with Dufy in 1909, and visited Portugal in 1911-1912 and Belgium in 1912. In 1914 he was called up and assigned to technical services, not being demobilised until March 1919, although he did manage to maintain a certain independence. From 1914 until his death he lived in Paris at 73 Rue Notre-Dame-des-Champs, where he occupied Bouguereau's old studio. He made frequent trips to Cap-Brun near Toulon where, in 1923, he acquired a property called Les Jarres, as well as making numerous visits to Normandy and Le Havre. In 1925 he received the highest commendation at the Carnegie Prize in Pittsburgh for Portrait of the Decorative Artist Paul Paquereau. Also in 1925, at the same time as Matisse, he was made a Chevalier of the Légion d'Honneur, rising to in Officier in 1933 and Commandeur in 1937. He was also made Commander of the Swedish order of Vasa in 1934. Throughout his life, Friesz was a teacher: from 1913 at the Académie Moderne; from 1929 at the Académie Scandinave; and from 1941 until his death at the Académie de la Grande-Chaumière. Alongside his activity as a painter, he illustrated several works of literature, including: in 1920 Le Pacte de l'Écolier Juan by Jules Tellier; in 1924 Échelles de Soie by Jean Pédron; in 1926 Le Jardin sur l'Oronte by Maurice Barrès; in 1926 En Suivant la Seine by Gustave Coquiot; in 1929 Rouen by André Maurois; in 1931 The Song of Songs; in 1934 Poésies by Pierre de Ronsard; in 1945 Le Bouquet de la Mariée by Gabriel-Joseph Gros; in 1947 Paul et Virginie by Bernardin de St-Pierre; in 1949 Le Livre de Job by Pierre Poussard; in 1949 Petronius's Satyricon, and in 1949 a collection of 12 unpublished lithographs for Le Désert de l'Amour by François Mauriac. He also designed several pieces of decorative art: from 1906 to 1909 ceramics executed by Metthey among others; a façade for a private house in Le Havre; a china service for two for the Le Havre writer J.-G. Aubry; vases, dishes and plates; in 1912 four sets for La Lumière by Georges Duhamel, performed at the Odéon; in 1916 a screen for the Le Havre collector Léon Pédron; in 1918 panels for Pédron's dining room; in 1920 a mural entitled Children Dancing (Enfants Dansant); in 1920 Les Volières for the apartment of Vicomte Amédée de Flers; in 1935 Peace (La Paix), a Gobelins tapestry presented by France to the Palais des Nations in Geneva; in 1937 La Seine in collaboration with Dufy for the Palais de Chaillot, with each artist taking half of the river's course - From the Source to Paris by Friesz and From Paris to the Estuary by Dufy. The Fauves were producing Fauve paintings before they knew it: it was not until the critic Louis Vauxcelles saw their work at the Salon des Indépendants in 1905 and mockingly used the word Fauve to describe it that the term was born. It is known that Vlaminck and Derain worked together and that the École de Chatou was composed of just these two artists. Friesz was living with Matisse and after his first trip to Antwerp in 1905, he returned in 1906 with Braque. In 1906-1907 Friesz and Braque went to La Ciotat to paint and there they met up with Matisse. The paintings Friesz produced in Antwerp are Fauve inasmuch as they are painted in pure colours and are more or less free of the divisionism of the Impressionists, although the draughtsmanship is fairly standard; these works include The Port, The Escaut, The Canals, The Dock with Sailing Ships and The Red Slipway. Those of Braque the following year, in particular Terrace on the Escaut, show great similarities with those Friesz painted of the same subject. Friesz was already avoiding the hardness of pure flat tints by graduating them in thin glazes, allowing the whiteness of the canvas to penetrate the transparency, a technique that came to characterise his entire Fauve period. At La Ciotat Friesz and Braque adopted completely different Fauve styles, with Braque composing his paintings on horizontal and vertical orthogonals painted in small, regular, spaced-out touches, whereas Friesz developed his own personal rhythmical style of wide arabesques of colour in works such as The Bec-de-l'Aigle, Women Bathing and L'Estaque. Many of Friesz's Fauve works were produced in the south of France, and his Portrait of Fernand Fleuret also dates from this period. When he returned to Normandy in 1908 the period that he described as his 'return to form' began; with compromise paintings such as Entrance to the Port of Honfleur, Côte de Grâce Landscape, The 'Bains Marie-Christine' in Le Havre and the great compositions characteristic of this period - Autumn Labours, Spring, Fisherman on a Rock and Women Bathing. His draughtsmanship retains something of the rhythm of the Fauve period, his figures following the lines of the landscape and the colour remaining clear and resonant. In 1909 he painted the Cirque Médrano series: The Trapeze Artist, The Clown and The Horsewoman. In the south of France he also painted the Olive Trees series. He made a trip to Munich with Raoul Dufy resulting in Winter in Munich. This was also the year of his first trip to Italy. Boat in a Rocky Inlet of 1910 marks one of the pivotal points between a totally rhythmic drawing style of sensual curves typical of his Fauve period and a reduced palette of muted ochres, browns and blues. From 1910 onwards, the final traces of Fauvism become less and less apparent in his work. His use of colour follows the same course, towards the transcription of reality, with broken tones, ochres and browns. After his demobilisation, as well as in his studio in Paris, Friesz spent time in his house in Toulon, returned to Normandy and Le Havre and continued to make frequent, often local, forays in search of new subjects: in 1919 to Jura, producing the series Forests, Pine Trees, Road in the Snow and Invitation to Skate; in 1920 to Italy producing Piedmont Village, Florence Grape Pickers; in 1920 to Le Havre, producing The Étretat Cliffs, People Bathing at Étretat; in 1923 to his house in Toulon, producing View of Coudon, Women Bathing, Grape Harvesting, Jars; in 1924 he painted the Large Nude (which he exhibited at the Salon d'Automne the same year) and landscapes of Toulon; in 1928 he made a trip to Algiers, producing The Algiers Kasbah and its Phantoms; in 1931 to Annecy, producing Women Bathers by a Lake; in 1934-1935 to Dinan and St-Malo producing The Great Dinan Viaduct, The Dock with the Terre-Neuvas, After Bathing; in 1936 to Honfleur; in 1941-1944, remaining in Paris because of the war, he painted mainly still-lifes, including Studio Corner, Earthenware. In 1946 he returned to Honfleur; and in 1947 to La Rochelle producing The Port Tower, Tuna Boats, The Red Sail. Numerically Friesz's work is dominated by landscapes but it should be remembered that throughout his career he tackled more ambitious compositions and appeared to do so with great ease. These include Boat in a Rocky Inlet of 1910 with its frolicking women bathers, Allegory of War of 1915 executed in 24 hours, Invitation to Skate of 1919, numerous paintings of Women Bathing over several periods and much later Women beside a Pond of 1944, which clearly demonstrates his attachment to Cézanne. He exhibited at the Salon des Artistes Français from 1901 to 1903 and then at the Salon des Artistes Indépendants. From 1906 he exhibited annually at the Salon d'Automne, of which he later became a committee and jury member. In 1923 he took part in the founding of the Salon des Tuileries and became head of two of the Salon's sections. His work has been exhibited at countless group exhibitions all over the world. Among the most recent thematic exhibitions is Fauvism in Black and White. From Gauguin to Vlaminck, Fauvist Engraving and its Setting (Le Fauvisme en Noir et Blanc. De Gauguin à Vlaminck, l'Estampe des Fauves et son Environnement) at the Musée d'Art Moderne in Villeneuve d'Ascq in 2001. He also showed his work in numerous solo exhibitions in Paris: his first in 1904 at the Galerie des Collectionneurs and another the same year at the Société des Peintres du Paris Moderne...