Georges D'Espagnat
Melun, Francia, 1870 - Parigi, 1950
Although inspired by Impressionist painting, D'Espagnat's landscapes and still lifes are distinguished by a more decisive restraint and intimacy, both in composition and color choice. The original stroke, with vaporous and soft touch, deeply marks his style.
D'Espagnat can be considered among the precursors of Fauvism and is undoubtedly one of the most representative masters of French Post-Impressionism.
After a brief period of study at the Ecole des Arts Décoratifs in Paris, he attended the more "free" Academie de Montparnasse.
Influenced by Renoir and Sisley, Georges D'Espagnat made his debut in 1892 at the Salon des Indépendants and participated between 1894 and 1895 in Impressionist exhibitions at "Le Barc de Boutteville."
Around 1900 he came into contact with the "Nabis" group especially Pierre Bonnard, Louis Valtat, Edouard Vuillard, Albert André and Maurice Denis. The important collaboration with the latter gives rise to the renewal of sacred art in France.
At the beginning of the new century he made numerous trips to Europe and Algeria. In 1903 he was among the founders of the Salon d'Automne, in which he participated until 1949. He is assiduous at the other Salons in Paris and abroad: Salon de la Société Nationale des Beaux-Arts (1893), at the first Salon de la Societé de Gravure sur bois; de la Libre Esthetique in Brussels (1899, 1901); and at the Berlin Secession (1904).
He is soon noticed by the art dealer Durand-Ruel, who puts on numerous exhibitions for him both in the Paris gallery (1898, 1900, 1903, 1906, 1908, 1911) and in New York (1922, 1923, 1926). His solo shows are also organized by Galerie Druet in Paris (1944) and Galerie Sagot-Le Garrec & M. Cordier.
Detached from the artistic currents and pictorial movements of the time, he preferred to retain freedom in the use of color and the fantasy of his personal arabesque stroke.
Although inspired by Impressionist painting, d'Espagnat's landscapes and still lifes are distinguished by a more decisive sobriety and intimacy, both in composition and in the choice of colors. The original stroke, with vaporous and soft touch, deeply marks his style.
He made numerous portraits of famous people: Paul Valery, André Gide, Maurice Ravel, Francis Jammes, Albert André, Albert Marquet, André Marty, and Albert Roussel.
In 1934 he was appointed head professor of the Atelier of the Ecole des Beaux-Arts in Paris.
Group exhibitions in which he participated include: in 1912 the Centenary of French Art in St. Petersburg; in 1916 the Kunstverein in Winterthur, Germany; in 1918 and 1926 the exhibition at Galerie M. Bernheinm in Paris; in 1930 the exhibition Contemporary French Art in Tokyo.
Georges d'Espagnat is one of the artists who contributed to the success of the "Courrier Français"; the drawings he executed for the newspaper, are highly appreciated for the great expressive force that recalls the Renaissance masters.
He executed wall decorations for the Palais de la Découverte (1937); the ceiling for the Victor Hugo room at the Palais du Luxembourg (1939); a decorative panel for the Palais de Justice in Toulouse (1941); and numerous interior decorations in private homes.
Also known as an illustrator of books, notable are the Oraisons mauvaises (1896), Les Saintes du Paradis (1898), Simone (1907), Sixtine (1922) by Rémy de Gourmont; L'Immortel (1930) by Alphonse Daudet; La Symphonie Pastorale by André Gide; Clairière dans le ciel (1948) by Francis Jammes.
Museums:
Albi (Toulouse-Lautrec Museum); Bagnols-sur-Cèze (Léon Alegre Museum); Douai (Douai Museum); Le Havre (Museum of Fine Arts); Ceret (Museum of Modern Art); Metz (Museum of Art and History); Morlaix ; Nancy (Musée des Beaux-Arts) ; Nice (Musée Massenet et Chéret) ; Parigi (Musée d'Art Moderne ; Musée d'Orsay ; Musée du Theatre National de l'Opera ; Rouen (Musée des Beaux-Arts et de la Ceramique) ; Saint-Etienne (Musée d'Art et d'Industrie) ; Saint-Tropez (Musée de l'Annonciade) ; Sète (Musée Paul Valey) - Francia ; Boston (Museum of Fine Arts) ; Indianapolis (Art Museum) ; Chicago (Art Institute) ; New York (Metropolitan Museum) ; Ginevra (Petit Palais) ; Bruxelles (Musée Royal des Beaux-Arts) ; Moscow (MuseumPouchkine) ; Tokyo (National Museum Of Western Art) ; Toledo (Museum of Art)
Bibliography:
Catalogue sommaire illustré des peintures, Musée d’Orsay, Paris, Ed. Réunion des Musées Nationaux, 1990 ; H. Belbeoch, F. Clifford, Belle-Ile en art, Henri Belbeoch, 1991 ;
E. Hardouin-Fugier, E. Grafe, French Flower Painters of the 19th Century, A Dictionary, London, Peter Mitchell, 1989; Femmes dessinées peintes et sculptées, Paris, Galerie Thierry Mercier, 2004
After a brief period of study at the Ecole des Arts Décoratifs in Paris, he attended the more "free" Academie de Montparnasse.
Influenced by Renoir and Sisley, Georges D'Espagnat made his debut in 1892 at the Salon des Indépendants and participated between 1894 and 1895 in Impressionist exhibitions at "Le Barc de Boutteville."
Around 1900 he came into contact with the "Nabis" group especially Pierre Bonnard, Louis Valtat, Edouard Vuillard, Albert André and Maurice Denis. The important collaboration with the latter gives rise to the renewal of sacred art in France.
At the beginning of the new century he made numerous trips to Europe and Algeria. In 1903 he was among the founders of the Salon d'Automne, in which he participated until 1949. He is assiduous at the other Salons in Paris and abroad: Salon de la Société Nationale des Beaux-Arts (1893), at the first Salon de la Societé de Gravure sur bois; de la Libre Esthetique in Brussels (1899, 1901); and at the Berlin Secession (1904).
He is soon noticed by the art dealer Durand-Ruel, who puts on numerous exhibitions for him both in the Paris gallery (1898, 1900, 1903, 1906, 1908, 1911) and in New York (1922, 1923, 1926). His solo shows are also organized by Galerie Druet in Paris (1944) and Galerie Sagot-Le Garrec & M. Cordier.
Detached from the artistic currents and pictorial movements of the time, he preferred to retain freedom in the use of color and the fantasy of his personal arabesque stroke.
Although inspired by Impressionist painting, d'Espagnat's landscapes and still lifes are distinguished by a more decisive sobriety and intimacy, both in composition and in the choice of colors. The original stroke, with vaporous and soft touch, deeply marks his style.
He made numerous portraits of famous people: Paul Valery, André Gide, Maurice Ravel, Francis Jammes, Albert André, Albert Marquet, André Marty, and Albert Roussel.
In 1934 he was appointed head professor of the Atelier of the Ecole des Beaux-Arts in Paris.
Group exhibitions in which he participated include: in 1912 the Centenary of French Art in St. Petersburg; in 1916 the Kunstverein in Winterthur, Germany; in 1918 and 1926 the exhibition at Galerie M. Bernheinm in Paris; in 1930 the exhibition Contemporary French Art in Tokyo.
Georges d'Espagnat is one of the artists who contributed to the success of the "Courrier Français"; the drawings he executed for the newspaper, are highly appreciated for the great expressive force that recalls the Renaissance masters.
He executed wall decorations for the Palais de la Découverte (1937); the ceiling for the Victor Hugo room at the Palais du Luxembourg (1939); a decorative panel for the Palais de Justice in Toulouse (1941); and numerous interior decorations in private homes.
Also known as an illustrator of books, notable are the Oraisons mauvaises (1896), Les Saintes du Paradis (1898), Simone (1907), Sixtine (1922) by Rémy de Gourmont; L'Immortel (1930) by Alphonse Daudet; La Symphonie Pastorale by André Gide; Clairière dans le ciel (1948) by Francis Jammes.
Museums:
Albi (Toulouse-Lautrec Museum); Bagnols-sur-Cèze (Léon Alegre Museum); Douai (Douai Museum); Le Havre (Museum of Fine Arts); Ceret (Museum of Modern Art); Metz (Museum of Art and History); Morlaix ; Nancy (Musée des Beaux-Arts) ; Nice (Musée Massenet et Chéret) ; Parigi (Musée d'Art Moderne ; Musée d'Orsay ; Musée du Theatre National de l'Opera ; Rouen (Musée des Beaux-Arts et de la Ceramique) ; Saint-Etienne (Musée d'Art et d'Industrie) ; Saint-Tropez (Musée de l'Annonciade) ; Sète (Musée Paul Valey) - Francia ; Boston (Museum of Fine Arts) ; Indianapolis (Art Museum) ; Chicago (Art Institute) ; New York (Metropolitan Museum) ; Ginevra (Petit Palais) ; Bruxelles (Musée Royal des Beaux-Arts) ; Moscow (MuseumPouchkine) ; Tokyo (National Museum Of Western Art) ; Toledo (Museum of Art)
Bibliography:
Catalogue sommaire illustré des peintures, Musée d’Orsay, Paris, Ed. Réunion des Musées Nationaux, 1990 ; H. Belbeoch, F. Clifford, Belle-Ile en art, Henri Belbeoch, 1991 ;
E. Hardouin-Fugier, E. Grafe, French Flower Painters of the 19th Century, A Dictionary, London, Peter Mitchell, 1989; Femmes dessinées peintes et sculptées, Paris, Galerie Thierry Mercier, 2004
