Bateaux dans le port de Honfleur by Lucien Neuquelman
Bateaux dans le port de Honfleur by Lucien Neuquelman
Lucien Neuquelmann was a French artist whose oeuvre was heavily influenced by Georges Seurat and Paul Signac, the forefunners of the pointillist technique. Neuquelmann’s painting approach relies on the ability of the eye and mind of the viewer to blend his singular spots of colour into a fuller range of tones. Like with Seurat and Signac, Neuquelmann does not mix colours on a palette but rather applies complimentary colours in close proximity to one another, often making the colours seem much brighter and more vivid.
MEDIUM: Oil on canvas
DIMENSIONS: (unframed) 28.8 x 36.0 ins/ 73.0 x 91.4 cm
SIGNATURE: Signed ‘L. Neuquelman’ (lower right)
Price: £POA.
Description
Lucien Neuquelmann was a French artist whose oeuvre was heavily influenced by Georges Seurat and Paul Signac, the forefunners of the pointillist technique. Neuquelmann’s painting approach relies on the ability of the eye and mind of the viewer to blend his singular spots of colour into a fuller range of tones. Like with Seurat and Signac, Neuquelmann does not mix colours on a palette but rather applies complimentary colours in close proximity to one another, often making the colours seem much brighter and more vivid.
Using his characteristically bright palette and energetic, short brushstrokes, Neuquelman enjoyed painting landscapes and views of Paris and Brittany. This view in particular is of Honfleur, the picturesque port town on the banks of the Seine. The houses with their slate-covered frontages and the tranquil dock have been depicted many time by many other great painters such as Eugene Boudin, Claude Monet and Gustave Courbet. The bright colours in this scene are evocative of the warm sunlight that drowns the harbour during the summer period, whilst Neuquelmann’s adaptation of pointillism only adds to the cheerful, warm hue.
Provenance
Private Collection, France
Biography
Lucien Neuquelmann was a French artist whose oeuvre was heavily influenced by Georges Seurat and Paul Signac, the forefunners of the pointillist technique. Neuquelmann’s painting approach relies on the ability of the eye and mind of the viewer to blend his singular spots of colour into a fuller range of tones. Like with Seurat and Signac, Neuquelmann does not mix colours on a palette but rather applies complimentary colours in close proximity to one another, often making the colours seem much brighter and more vivid.
Neuquelman began studying at the Art School of Toulon, he then moved to Paris, and went on to meet French Fauvist Othon Friesz, of whom he became a pupil. From Friesz he learned both the colour theories of the fauves and the more sombre palette of Chardin, Poussin and Corot whom Friesz also admired. Particularly in Neuquelman’s work it is apparent that he had absorbed ideas of strong compositions and solid, voluminous forms. In 1930 he entered l’Académie de la grande Chaumière, in Montparnasse in Paris.