Gustave Loiseau - Tournedos-sur-Seine, niege, givre,soleil

Gustave Loiseau

Tournedos-sur-Seine, niege, givre,soleil

Oil on canvas: 21.5(h) x 28.7(w) in /

21.5(h) x 73(w) cm


Request price
Request viewing
Contact us

Price request

We will only use your contact details to reply to your request.

protected by reCAPTCHA - PrivacyTerms

Close The Form

Request viewing

We will only use your contact details to reply to your request.

We will contact you shortly after receiving your request.

protected by reCAPTCHA - PrivacyTerms

Close the Form
Close the Form

Contact us

Telephone +44 (0)20 7493 3939


We will only use your contact details to reply to your request.

protected by reCAPTCHA - PrivacyTerms

This framed painting is for sale.
Please contact us on:
+44 (0)20 7493 3939

BX 142



1865 – Paris – 1935


Tournedos-sur-Seine, neige, givre, soleil


Signed lower left: G.Loiseau; titled on the stretcher Oil on canvas: 21 ½ x 28 ¼ in / 54.6 by 73 cm

Frame size: 30 x 37 in / 76.2 x 94 cm

Painted in the winter of 1899-1900


Durand-Ruel, Paris, inv. no.8335 Private collection, Papeete, Tahiti Hôtel Drouot, Paris, 8th April 1989, lot 59 Private collection, France Schiller & Bodo, New York; from whom acquired on 28th April 2006 by a private collector, USA


To be included in the catalogue raisonné of the work of Gustave Loiseau being prepared by Monsieur Didier Imbert, inv. no.A1565



In the early 1890s Gustave Loiseau spent time in Pont-Aven, met Gauguin and formed a close friendship with Henry Moret and Maxime Maufra. Based intermittently in Paris and Moret-sur-Loing, Loiseau travelled constantly, often in company with Moret and Maufra. In his mature work he moved away from the Pont-Aven School towards a style that is a highly personal, poetic reinterpretation of the Impressionist landscapes pioneered by Monet and Sisley. From 1897 Loiseau was represented by Paul Durand-Ruel, who organized a number of successful exhibitions for him in Paris and promoted his work internationally.


Loiseau painted snow scenes throughout his career[1], often titling them ‘Effet de neige’ to encapsulate not just the physical reality, but the whole spirit of nature spread before him as he painted en plein air. He was also fascinated by rivers, particularly the Seine, which glides majestically through Paris and ends at Le Havre, playing a crucial part in the history and commerce of France. Tournedos-sur-Seine is a picturesque hamlet in Normandy, south-east of Rouen. There the river meanders past islands and forests fringe large lakes to the west.


This painting shows Loiseau’s exquisitely subtle sense of colour. He evokes frost and snow glittering in the sun with richly-impasted strokes of violet-blue and lilac. A myriad of colours is revealed in this winter landscape, ranging from the palest of silver hues to a bold scattering of cherry red highlights which give vibrancy to the scene. The composition is anchored by elements of mossy green which lead the eye into the landscape. The bushes at the right and the weeds on the path to the left lead the gaze towards the central tree and form a triangular motif which is echoed by the side wall of the cottage. Unlike his friend Moret, who used strong, almost anti-naturalistic colours influenced by his time as a member of the Pont-Aven School, Loiseau painted nature with a shimmering, naturalistic immediacy, enchanted by the magic of light.




1865 – Paris – 1937



Gustave Loiseau is one of the most poetic and sensitive of the Post-Impressionists. His work shows the influence of Impressionist masters such as Alfred Sisley and Camille Pissarro and he took advice from Paul Gauguin, whilst being a great admirer of Corot. Loiseau experimented with Pointillism, but developed his own style. He is considered to be a pure landscape artist, painting from direct observation of nature in a manner which is reminiscent of Claude Monet.


Loiseau was born in Paris, the son of a butcher from Pontoise. He was apprenticed in 1880 to a house painter and then to a decorator, a job which he despised, but which aroused his interest in art. Loiseau discovered the countryside of Pontoise when his parents retired there in 1881; a legacy from his grandmother in 1887 allowed him to devote his life to landscape painting.


Loiseau studied at the Ecole des Arts Décoratifs and in the studio of the landscape painter Fernand Quignon. Loiseau lived at La Maison du Trappeur in the Rue Ravignon, Montmartre, which was later to become famous as the Bateau-Lavoir. He became acquainted with Jean-Louis Forain and Adolphe Willette, but his shy, nature-loving personality had little in common with the raucous bohemians of the Parisian art scene. In 1890 he went to Pont-Aven, where he was befriended by Henry Moret and Maxime Maufra. Although working in a personal style, Loiseau’s paintings from this period show the influence of the Pont-Aven School in their diagonal compositions, shortened perspectives and anti-panoramic fields of view. Returning to Paris in 1891, Loiseau exhibited for the first time at the Fifth Exhibition of Impressionist and Symbolist Painters. He showed paintings at the gallery of Le Barc de Boutteville in Rue Le Pelletier, where two works were bought by the celebrated Rouen collector and friend of Monet, François Depeaux.


For much of his life Loiseau was based in Paris but travelled extensively through France, making repeated trips to Pont-Aven, where he was encouraged by Gauguin in 1894, to Normandy and to Pontoise. Described as ‘the historiographer of the Seine’, he also captured the shifting moods of the Oise and the Eure rivers and the Channel ports. Loiseau joined the Société des Artistes Indépendants in 1893. In 1897 he signed an agreement to sell most of his output to Paul Durand-Ruel, giving him the financial independence to travel more extensively. Loiseau divided his last years between Pontoise (where he is buried) and Paris, where he died in 1935.


The work of Gustave Loiseau is represented in the Musée d’Orsay, Paris; the Musée des Beaux-Arts, Rouen; the Ashmolean Museum, Oxford; the Marubeni Collection, Japan; the Metropolitan Museum of Art, New York; the Museum of Fine Arts, Boston and the Nelson-Atkins Museum of Art, Kansas City.



[1] For example La neige à Tournedos-sur-Seine (private collection), also painted in 1899, depicts the Hamlet and river on a greyer day. See Paris, Didier Imbert Fine Art, Gustave Loiseau (1865-1935), no.4, illus. in colour. Other snow scenes include Village du Dauphiné, 1907 (private collection; Imbert, op. cit., no.14, illus. in colour) and Pont-Aven, effet de neige, 1922 (private collection; Imbert no.24, illus. in colour).

ImpressionistGustave Loiseau