Maximilien Luce Print, Works on the Seine, at the Pont des Saints-Pères (1936)
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Maximilien Luce Print, Works on the Seine, at the Pont des Saints-Pères (1936)
The advent of zincography in the printing world rendered xylography nearly obsolete, compelling Luce to transition from engraving to painting full-time around 1883. This pivotal career shift was heavily influenced by Gausson and Cavallo-Péduzzi, who introduced him to Georges Seurat's Divisionist technique around 1884. Embracing the Pointillist style, Luce's work diverged from Seurat's detached approach, instead offering passionate portrayals of contemporary life and the dramatic effects of light.
By 1887, Luce had moved to Montmartre, joining the Société des Artistes Indépendants and showcasing his work in their third spring exhibition. His piece, "La Toilette," caught the eye of Paul Signac, while seven other works impressed both Camille Pissarro and art critic Félix Fénéon, who described Luce as a "coarse, honest man, with a rough and muscular talent." During this period, Luce mingled with prominent Neo-impressionists, including Seurat, Henri-Edmond Cross, and Charles Angrand. His Pointillist period, particularly the 1895 painting "On the Bank of the Seine at Poissy," was lauded by a New York Times critic as the pinnacle of his artistic career.
Luce remained a fixture at Les Indépendants exhibitions from 1887 until his death in 1941, with the exception of the years 1915 to 1919. His dedication to the Société des Artistes Indépendants saw him elected Vice President in 1909 and President in 1935, following Signac's death. However, he resigned in 1940 in protest against the Vichy regime's discriminatory laws against Jewish artists. His first solo exhibition, curated by Fénéon in July 1888, featured ten paintings at the La Revue indépendante offices. He also exhibited at the Les XX shows in Brussels, where he connected with notable figures like Octave Maus, Emile Verhaeren, and Théo van Rysselberghe.
In 1892, Luce traveled to London with Pissarro, later visiting Saint-Tropez with Signac, and Brittany in 1893. As the twentieth century progressed, Luce's identification with Neo-impressionism waned. His artistic style shifted back to Impressionism, and he depicted various scenes, including wounded World War I soldiers arriving in Paris.
Throughout his extensive career, Luce's portfolio was diverse, encompassing landscapes, portraits, still lifes, domestic scenes, and depictions of industrial laborers. His dynamic range and passionate portrayals have left a lasting impact on the art world.
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