Léo Gausson

Léo Gausson (1860 - 1944) is a painter French, related to the impressionist movement néo- and synthetic.

Biography

It was born the February 14th 1860 with Lagny-sur-Marne located at forty kilometers in the east of Paris.

Painting was the essence of its Article complete Artiste, it practiced other means of expression: the Drawing, the Engraving, the Sculpture.

Léo Gausson, artist innovative takes part with enthusiasm in the two movements which occurred with little interval, Néo- Impressionnisme and Synthétisme based on different esthetic designs.

Artistic formation

It receives initially a formation of sculptor while following courses of the evening to the 3Ecole Nationale Sup3erieure of decorative arts. It carried out during its life of many medallions.

However very young person, it wishes to undertake studies of Peinture.

Its beginnings in this discipline are registered under a double influence. It is initially initiated with the École of Barbizon by a painter of Lagny Antonio the Cortes, former student of Constant Troyon. Curious about all, Gausson is attentive with contemporary painting . Its pallet clears up and attests a thorough knowledge of the impressionists.

Neo-impressionist period

It becomes acquainted with two xylographes: Maximilien Luce and Cavallo Peduzzi. Together, they are interested and study the scientific principles applied to Article It is the moment when the Neo-impressionism is worked out, of which most eminent Georges Seurat and Paul Signac supported by the Master Camille Pissarro forms the initial group. Gausson and its friends have a presentiment of all the importance which the work of Eugene Chevreul constitutes: Law of the simultaneous contrast of the colors.

In 1885, Gausson knows perfectly the principles of this theory and it clarifies them in a long letter with Emile Zola. The work of Gausson becomes particularly innovative in 1886, year when it carries out works according to the study of the simultaneous Contraste.

Synthetic period

Continuing its research, it is directed logically towards the synthetism, which enables him to represent the intensity of certain effects of nature. It carries out 1890 - 1894 and even starting from 1889 of daring works to the simplified forms treated in with-dish and partitioned.

It takes part in the exposures of avant-garde: with Saint-Germain-in-Bush hammer, the XX with Brussels, association for the Art with Antwerp, Paris at Barc de Boutteville, the Brébant Hotel, the living room of the Hundred.

During all this period, it does not give up any therefore the néo- Impressionnisme. Even, forsaking any theory, it sticks more to the representation of reality, in a synthesis of the elements which is very personal for him: Farmyard, 1891, (based on the golden section).

A correspondence testifies to its relations with the writers Symbolists: Gausson illustrates books of Adolphe Retté; Gustave Kahn foreword the catalog of its exposure particular to the Laffitte Gallery in 1896.

Gausson will write a book of vertiginous Histoires tales, in 1896.

In 1900, it is promoted Officier of Academy, to have carried out with Adolphe Retté a monument dedicated to Charles Colinet, in the Forêt of Fontainebleau.

African period

These very precarious conditions of existence decide Gausson to leave the France. In 1901, it engages in the colonial administration. It will be an obstacle to continue its work. He will live in French Guinea seven or eight years.

Gausson is one of the very first to have brought back paintings of this area of Africa, then unknown factor of the Westerners.

Breton period

The fabrics of this time mark a more rigorous synthesis and reveal the assertion of its qualities of colourist. He builds the forms by the color.

See

List museums having of works of Gausson:

Museum of Orsay
Museum van Gogh, Amsterdam
The Indianapolis Museum off Art
Museum Gatien Bonnet, Lagny-sur-Marne

External bond

personal site dedicated to Léo Gausson

Random links: