Gabriel Léon Detroy (Chinon, 1859 - Saint-Germain-d'Arcé,... - Lot 25 - Vermot et Associés

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  3. Gabriel Léon Detroy (Chinon, 1859 - Saint-Germain-d'Arcé,... - Lot 25 - Vermot et Associés
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Result : 18 400EUR
Gabriel Léon Detroy (Chinon, 1859 - Saint-Germain-d'Arcé,... - Lot 25 - Vermot et Associés
Gabriel Léon Detroy (Chinon, 1859 - Saint-Germain-d'Arcé, 1955) Morning on the Creuse River, circa 1890-1900 Oil on canvas, signed lower right 73 x 100 cm Yoke on the back of the canvas due to an old restoration Provenance : Private collection, Issy (92) then by descent Experte : Virginie Journiac, agréée CECOA, FNEPSA et CEDEA Léon Detroy invites us to take a walk of the most shimmering and intimate nature in this landscape of Creuse. The use of the divisionist touch and the complementary colors literally make the canvas vibrate. The rustling of the foliage and the lapping of the ducks on the water are almost audible. The tree trunks punctuate, like bars on a musical score, the lakeside landscape imbued with a serenity that nothing can disturb. As in a theater, the shaded foreground opens to a luminous background where the foliage of the opposite shore is reflected in the water. A small white building reminds us that humans cohabit with this unspoiled nature. The delicacy of the tones - notably the gradations of purple and green punctuated by yellow-orange - is reminiscent of the work of Claude Monet. During the spring of 1889, Detroy was in contact with his fellow painter who had come to work in Fresselines which, with Gargilesse and Crozant, are three artistic centers of the region. However, with his strong divisionist technique, he was very close to Armand Guillaumin who contributed to make Crozant (where the latter lived from 1893) one of the centers of contemporary plastic creation. The friendship between Detroy and Guillaumin began in 1892 on the Var coast, on the side of Agay where they were staying. At the turn of the century, Detroy's work was shown at the Salon des Indépendants (1904-1905) and at the Salon d'automne (1904). For the first time, his work went from discretion to the light: the art critics Roger Marx, Louis Vauxcelles and Arsène Alexandre were complimentary. As a traveling painter, he moved around a lot in Italy (Sicily, Amalfi Coast, Venice), Belgium (Bruges), the Paris region (Versailles), Normandy and the Riviera, but from 1910 onwards, the Creuse Valley was his exclusive "home". Léon Detroy left at his death nearly three thousand works, including hundreds of Creuse executed from 1890 to 1940. Our painting is to be compared with a Paysage de la Creuse, oil on canvas, signed lower right, 60 x 73 cm (Sale Dumousset, Drouot-Richelieu, June 23, 1986, lot n° 34) : the divisionist technique is identical with this so particular framing on the tree trunks and the play of reflections on the water. This bold framing is also found in works produced in the south of France, but with a technique that has evolved: the brushstroke is more fluid, less methodically divisionist: Bord de Méditerranée, oil on canvas, signed lower right, 49 x 65 cm (Conan sale, Lyon, May 24, 2012, lot no. 91). Virginie Journiac, Certified Expert CECOA, FNEPSA and CEDEA
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