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Notre Dame

Maximilien Luce, French, (March 13, 1858–February 6, 1941)

Creation date: ca. 1900
Creation place: France

Other Information

Type: Oil Painting
Medium and Support: Oil on canvas
Credit Line: Gift of Ambassador and Mrs. Maxwell Gluck
Accession Number: 1985.77
Dimensions: 32 in. x 23 7/8 in. (81.28 cm x 60.64 cm)
Currently on view

Provenance

Wildenstein & Co., Inc., New York, New York ( - 1959)

Mr. and Mrs. Werner Josten, New York, New York (1959 - May 11, 1977)

Mr. and Mrs. Maxwell Gluck, San Diego, California (ca. 1979 - November 25, 1985)

Sotheby's, New York, New York (May 11, 1977 - May 11, 1977)

Lawrence Lever, New York, New York (May 11, 1977 - May 15, 1979)

Christie's, NYC, New York, New York (May 15, 1979 - May, 15, 1979)

Aquavella Galleries, New York, New York (May 15, 1979 - ca. 1979)

San Diego Museum of Art, San Diego, California (November 25, 1985 - )

Label Copy

Luce’s career began as an teen-aged apprentice to prominent Parisian journal illustrator Eugène Froment. Through Froment, he gained access to many of the famous artists and studios of Paris, and by the mid-1880s, Luce was a full-time painter. He soon thereafter met Georges Seurat and the other Neo-Impressionists and adopted their techniques of divided color and rich textures. By 1900, however, Luce relaxed the rigor with which he followed Neo-Impressionist precepts. In this view of the cathedral of Notre-Dame, for example, Luce has varied his touch, in contrast to his earlier works where the paint was applied in brushstrokes or dabs of a consistent size. In the sky, larger dabs merge, translating the effect of a leaden, stormy sky onto the canvas; these contrast with the clipped points of color with which Luce describes the hustle and bustle of the Parisian streets and quais.

Maximilien Luce
French • 1858–1941
Notre Dame
Oil on canvas • ca. 1900
Trained as a printmaker, Maximilien Luce was first noted as a painter by the critic Félix Fénéon, who coined the term Neo-Impressionism to describe a new school of landscape painting based on “scientific” principles of color, in contrast to Impressionism’s largely instinctive attempt to capture the fleeting and spontaneous effects of light. Like his fellow Neo-Impressionists Seurat and Signac, Luce experimented with the separation of colors into individual, contrasting dots on the canvas.
Gift of Ambassador and Mrs. Maxwell Gluck
1985.77
Last Updated: 7/7/2015

Exhibition

This object was included in the following exhibitions:

From Monet to Matisse: Landscaoe Painting in France 1874-1914 , 8/11/1994 - 10/23/1994

Gallery Rotation , 6/1/2013 - 12/4/2013

General Exhibition: Rotation San Diego Museum of Art , 12/5/2013 - 5/31/2014

Reflections on Monet San Diego Museum of Art , 6/24/2017 - 1/21/2018

Post-Impressionism San Diego Museum of Art , 2/3/2018 - 00/00/00

Bibliography

This object has the following bibliographic references:

Impressionist and Modern Paintings and Sculpture Christie's. New York, New York, May 15, 1979

Maximilien Luce: Catalogue Raisonné de l'œuvre Peint Editions JBL. Paris, c. 1986

Important Impressionist and Modern Paintings and Sculptues Sotheby Parke Bernet, Inc.. New York, New York, May 11, 1997

Mr. Martin E. Petersen. San Diego Museum of Art, San Diego Museum of Art. San Diego, California, 1993
Page Number: 105

Julie Dunn, ed. San Diego Museum of Art, San Diego Museum of Art. San Diego, California, 1993
Page Number: 146, Figure Number: 146

Mr. Steven Kern. San Diego Museum of Art, San Diego Museum of Art. San Diego, California, 2003
Page Number: 135, Figure Number: 135

Dr. James A. Clapp, Ph.D.. California Cityscapes San Diego Museum of Art. San Diego, California, 1991
Page Number: 12, Figure Number: 3


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