In 1890, Loiseau joined the renowned artist’s colony at Pont-Aven in Brittany where he was befriended by Henry Moret and Maxime Maufra, themselves both protégés of Paul Gauguin. Loiseau learnt much from Gauguin and whilst he remained somewhat on the periphery of the group, their influence undoubtedly emboldened the young artist to embrace a stronger, bolder colour palette. It was during his time in Pont-Aven that Loiseau experimented with pointillism. While he ultimately forged his own path, the experience informed the development of his mature style, particularly the short, feathery brushstrokes that would become a hallmark of his work.

A contract with Paul Durand-Ruel

In 1893, Loiseau exhibited at the Salon des Indépendants, and with the encouragement of Monet and Renoir, he came to the notice of Paul Durand-Ruel, the eminent gallerist and promoter of Impressionism. A contract with Durand-Ruel followed in 1897 and afforded Loiseau the freedom and financial means to travel extensively throughout France. In 1884, Loiseau’s family had moved to Pontoise where they had family connections and the pretty hilltop town on the River Oise just north of Paris became an important source of inspiration for the young painter. In 1903, off the proceeds of successful sales, Loiseau bought land on the banks of the river in Pontoise and proceeded to build a home and studio there.

The Seine as inspiration

The small provincial town of Elbeuf lies on the banks of the River Seine just south of Rouen. Loiseau was captivated by the river and spent many years painting the Seine and its tributaries throughout Normandy. Such was his passion for the subject that he earned the accolade “historiographer of the Seine”. He returned to Elbeuf and its spectacular bridge on a number of occasions, faithfully recording it from the early morning to dusk. This repetition of a favoured subject at different points of the day and year is typical of Loiseau’s work. The process was deeply indebted to Claude Monet and allowed him to explore how the different light levels and seasons affected the view before him. The present work (Lot 173), executed in 1911, shows the bridge in full sunlight at the height of the day. The buildings on the far bank are bathed in a warm, rich light with the reflections on the water comprising many multi-coloured brushstrokes so synonymous with the Post-Impressionist style. The view of a bridge traversing a river with buildings in the hinterland clearly appealed to Loiseau and it was a construct that he painted on other occasions, for example, The Iron Bridge, St. Ouen (Fig. 2) dating from 1908, in which the rail bridge cuts through the composition to the town on the far bank.

A sense of movement

Le Pont d’Elbeuf, le soleil reflects Gustave Loiseau’s ability to infuse a sense of vitality and atmosphere into his landscapes. The quick, fluid brushstrokes help convey a sense of movement in the water beneath the bridge and his characteristic use of light, colour, and a masterful understanding of nature’s movements capture the beauty of a moment. It is a perfect testament to the Impressionist spirit of exploring the world through the lens of light and colour.

We are delighted to be also offering a second painting by Loiseau in the auction - Lot 177: Au Borde de la Rivière.  Both works will be included in the forthcoming Gustave Loiseau Catalogue Raisonné currently being prepared by Didier Imbert.

View page turning catalogue

Thursday 10 July, 10,30am BST
Donnington Priory, Newbury, Berkshire RG14 2JE

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VIEWING IN LONDON (HIGHLIGHTS)
Friday 27 June: 10am-4pm
Monday 30 June: 10am-4pm
Tuesday 1 July: 10am-4pm

VIEWING IN NEWBURY (FULL SALE)
Sunday 6 July: 10am-3pm
Monday 7 July: 10am-4pm
Tuesday 8 July: 10am-4pm
Wednesday 9 July: 10am-4pm

FURTHER INFORMATION: 
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