An example of restoration.
Some old paintings  covered by old varnishes can become yellow or brown after years.   Depending on varnishes, different solvants can be used. The cleaning starts upper left side, after a  test in a small area to avoid any damages.
Eugène GALIEN-LALOUE , with one of his pseudonym, MICHEL.
Eugène GALIEN-LALOUE  (1854-1941)...

Eugène Galien-Laloue was one of the great artists of the Paris street scene, which he produced in an Impressionist style.  His paintings stand out from those of other artists of the day due to the way in which he was able to depict the landmarks and monuments of Paris, giving special attention to the architectural detail.
 
French artist of rural landscapes ,his country landscapes in Normandy and in Barbizon area, Fontainebleau,   boats in harbours .. are also very well known.

His life, both personal and professional, is intriguing. 
Galien-Laloue was quite the solitary man and rode a bicycle to paint his country scenes as he hated walking in mud and even grass.  The most intriguing aspect of his personal life....he married each of 3 sisters.  The sisters were his neighbors and he married the youngest sister first.  After her death, he then 5 years later married the middle sister...and  after her death, while in his seventies he married the oldest sister.  Even modern creators of  TV series in Hollywood wouldn't have imagined this...

Galien-Laloue was not eccentric but always conservative, practically a royalist.  He was obsessed with his painting.  In his private life he found simplicity alluring .
He lived a monastic life.  All worldly pursuits, games, alcohol, the pleasure of the flesh were not for him.  Riding his bicycle to places in Paris to paint was his only physical exercise.   


He had a reclusive personality, which also may explain the reasons behind his numerous pseudonyms, but probably too for contractual reasons.  (Galien-Laloue was in exclusive contract with one gallery).  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.
Numerous pseudonyms:  L.Dupuy, M. Juliany, E.Galiany, J.Lievin, E.Lemaitre, M.Lenoir , Dumoutier, Michel...


We present in the collection 100 years of landscapes in France several of his paintings, with several pseudonyms.

The influence of life of an artist on his paintings.
















Maurice de Vlaminck 1876-1958
 
French landscape and still-life painter, lithographer, wood-engraver, etcher and writer, Vlaminck was born in Paris of a Flemish father and a French mother. Largely self-taught as a painter and attended no art school, he settled in 1892 at Chatou, on the outskirts of Paris, painting in his spare time and making his living mainly as a professional cyclist and a violinist in orchestras.  He did his military service in 1897-1900.  In 1900 he met Derain, with whom he rented a studio at Chatou and with whom he painted along the banks of the Seine.  An exhibition of van Gogh in 1901 reinforced his love of pure color at its maximum intensity. Vlaminck published three novels in 1902-7and exhibited with Matisse, Derain and others at the Salon des Indépendants and Salon d'Automne in 1905, when the movement received the name Fauvism.  His first one-man exhibition occured at the Galerie Vollard, Paris, 1907.  Vlaminck started to use a darker palette in 1908, including black; in 1910-14 he started to be  influenced by mild Cubist stylisation and then by Cézanne.
After the 1914-18 war, in a deep depression because of horrors of war,Vlaminck moved away from Paris and began to work in isolation in the countryside, settling in 1925 at La Tourillière (Eure-et-Loir).  He published Tournant Dangereux in 1929, the first of a series of memoirs.   Maurice de Vlaminck died at La Tourillière in 1958. 

Left, Fauvism period of Maurice De Vlaminck. Very colorfull paintings , as Vlaminck was liking to say," colors directly from the tubes..."


These two paintings are as example, and do not belong to the collection 100 years of landscapes in France.
Above left, painting after the 1914-1918 first world war.
Vlaminck, circa  1920.
Very dark, hopeless, black and grey, a few colors in a very discreet way.  It is perhaps difficult to see if it is an endless darkness, or if an eventual touch of hope at the horizon could be seen.
Above right , Vlaminck , circa 1940 , colors came back, but the fauvism period at the beginning of 1900's is evidently very far.

              (Collection 100 years of landscapes in France.)
Art , jealousy and justice....

















                            William DIDIER-POUGET  (1874-1959)                                                                                Gaston ANGLADE (1854-1919)
                        (Collection 100 years of landscapes in France)                                                       This painting is an example and does not belong to our collection



William Didier-Pouget was a French impressionist painter known for his landscapes, focused primarily on the countryside of southern France and infused with soft light and color.  Although not identified as a member of the Impressionist movement, his landscapes represent the finest artistic ideals of that movement: visible brush strokes, open composition, and particular emphasis on light in its changing qualities.  He noted, “The atmosphere of France lends itself admirably to Impressionistic painting en plein air.”  His goal was to show nature at its best, particularly fond of misty fields and valleys of the Creuse countryside, filled with heath and heather when in full summer bloom.

Gaston Anglade was born in Bordeaux and worked in Paris and Dordogne.  He made his reputation with paintings of mist-infused, multi-layered landscapes in a style similar to that of William Didier-Pouget.
Didier-Pouget decided to go to court to bring an action against Anglade, saying that this painter was copying his style.







                                                                                               William DIDIER-POUGET in his studio atelier.























Old frames for old paintings

A common problem with an old painting , that can occur,  is to have more or less  damaged frame.   Below an example of restoration,  needing time and patience.

1850's frame. The problem with 4 broken angles without any indication of  shape. Each broken area seems to have  the same base than intact patterns.
Reinforcing angles with stucco base. Then a print of an intact pattern with high definition bi-phase silicone is done .
Stucco model is cemented on base angle. An "assiette rouge" in french, red base layer before gilding is  applied.
Final  gilding layer.
Final  gilding layer.
Final gilding layer.
Different steps : below left, reinforcement with stucco, below right, after print, new angle model with red base before gilding,  upper angles restored after gilding.
Final  gilding layer on restored angles
Eugène GALIEN-LALOUE  with his pseudonym DUMOUTIER.
Restoration with cleaning.  Dark old varnish and numerous dark spots in the sky. Cleaning starts  upper left angle.
A cleaning and restauration of a very dark painting with brown varnish. Beginning of cleaning by the sky,an important part of light-contrast in this painting.
Théodore GERARD.