THIS OBJECT WAS SOLD
Léon Detroy (1859–1955) Autumn In Collioure, 1917/1920. Crozant School, Guillaumin Valtat, Agay
A new work by Léon Detroy—this time a superb oil on canvas, signed in the lower right corner and marked on the back “Autumn in Collioure,” circa 1917–1920.
The canvas alone measures 54x73 cm; 79x98 cm including the frame.
The painting is in perfect condition and comes in a magnificent, signed, modern gilded frame.
Authenticity guaranteed.
This is a new Post-Impressionist work with Fauvist tendencies by Léon Detroy, created during his 1917–1920 period. At that time, he painted extensively in Collioure and its surroundings, which is certainly the case here—most likely during the autumn olive harvest; indeed, we see young women carrying baskets in a sublime landscape of rolling hills divided into numerous plots. He naturally employs his signature brushwork from this period, using broad, flat areas of color and, above all, a sumptuous palette where fauve tones dominate alongside yellows, oranges, soft greens, mauve, pink, sky blue, and so on...
A major work from his Catalan period.
A great painter among the greats, I will only briefly introduce Léon Detroy, who, along with Guillaumin, was a leading figure of the now-famous School of Crozant.
Along with Guillaumin, these two painters shared honors, students, and friends, as well as the sites of the Creuse Valley; Detroy was more attached to Gargilesse and its surroundings, while Guillaumin was more drawn to Crozant and its surroundings.
So, having first settled in Crozant, then in Fresselines and Gargilesse, he would become a key figure in the Creuse Valley. He had studied in Paris alongside Lebourg; like Lebourg, he would leave school fairly quickly, finding it too academic for his tastes. He discovered the Creuse around 1888, after reading George Sand, and there he met Maurice Rollinat and Monet, and became friends with Alluaud, with whom he shared trips to Italy and Agay, where he met other great painters of the time, such as Valtat, Van den Eckout, Anquetin, etc.—who would remain loyal to him throughout their lives. He earned the recognition of numerous artists and critics of the time
His techniques evolved over the course of his life; he adopted the Divisionist style, then moved toward a style akin to Fauvism with broader brushstrokes (as seen here), and later combined small brushstrokes with large areas of flat color until he stylized his motifs—whether in the Creuse, on the French Riviera, in Collioure, in Italy, the Maghreb, Holland, Belgium, Brittany, etc. He was, therefore, a great traveler, but it was the shores of the Mediterranean that drew the artist most. Toward the end of his career, having settled in Gargillesse, he would paint almost exclusively still lifes, but they played a very important role in his career; some of them are, in fact, true masterpieces, just as much as his landscapes. And even at the end of his life, the charm will continue to work, for his painting remains TRUE and SINCERE!
Finally, recognized as one of the greatest painters of the Creuse Valley—if not the greatest—his reputation continues to grow, even more so since the exhibition and book mentioned earlier.
Finally, I encourage you to visit a magnificent exhibition currently on view at the Draguignan Museum, accompanied by a superb catalog—and of course, Léon Detroy is prominently featured there alongside the Guillaumins, Ballot, Pailler, Valtat, Marquet, Seyssaud, Cross, Camoin, etc....
The canvas alone measures 54x73 cm; 79x98 cm including the frame.
The painting is in perfect condition and comes in a magnificent, signed, modern gilded frame.
Authenticity guaranteed.
This is a new Post-Impressionist work with Fauvist tendencies by Léon Detroy, created during his 1917–1920 period. At that time, he painted extensively in Collioure and its surroundings, which is certainly the case here—most likely during the autumn olive harvest; indeed, we see young women carrying baskets in a sublime landscape of rolling hills divided into numerous plots. He naturally employs his signature brushwork from this period, using broad, flat areas of color and, above all, a sumptuous palette where fauve tones dominate alongside yellows, oranges, soft greens, mauve, pink, sky blue, and so on...
A major work from his Catalan period.
A great painter among the greats, I will only briefly introduce Léon Detroy, who, along with Guillaumin, was a leading figure of the now-famous School of Crozant.
Along with Guillaumin, these two painters shared honors, students, and friends, as well as the sites of the Creuse Valley; Detroy was more attached to Gargilesse and its surroundings, while Guillaumin was more drawn to Crozant and its surroundings.
So, having first settled in Crozant, then in Fresselines and Gargilesse, he would become a key figure in the Creuse Valley. He had studied in Paris alongside Lebourg; like Lebourg, he would leave school fairly quickly, finding it too academic for his tastes. He discovered the Creuse around 1888, after reading George Sand, and there he met Maurice Rollinat and Monet, and became friends with Alluaud, with whom he shared trips to Italy and Agay, where he met other great painters of the time, such as Valtat, Van den Eckout, Anquetin, etc.—who would remain loyal to him throughout their lives. He earned the recognition of numerous artists and critics of the time
His techniques evolved over the course of his life; he adopted the Divisionist style, then moved toward a style akin to Fauvism with broader brushstrokes (as seen here), and later combined small brushstrokes with large areas of flat color until he stylized his motifs—whether in the Creuse, on the French Riviera, in Collioure, in Italy, the Maghreb, Holland, Belgium, Brittany, etc. He was, therefore, a great traveler, but it was the shores of the Mediterranean that drew the artist most. Toward the end of his career, having settled in Gargillesse, he would paint almost exclusively still lifes, but they played a very important role in his career; some of them are, in fact, true masterpieces, just as much as his landscapes. And even at the end of his life, the charm will continue to work, for his painting remains TRUE and SINCERE!
Finally, recognized as one of the greatest painters of the Creuse Valley—if not the greatest—his reputation continues to grow, even more so since the exhibition and book mentioned earlier.
Finally, I encourage you to visit a magnificent exhibition currently on view at the Draguignan Museum, accompanied by a superb catalog—and of course, Léon Detroy is prominently featured there alongside the Guillaumins, Ballot, Pailler, Valtat, Marquet, Seyssaud, Cross, Camoin, etc....
Explore similar pieces and discover your ideal find:
Landscapes
