EUGENE GALIEN LALOUE



FRENCH (1854 - 1941)

A Biography of Laloue's Gouache Paintings


Today there are many painters who have discovered the fascination of painting familiar landmarks of Paris - the intriguing street cafes with their brilliant lights glowing in the rain, the flower stands by the Madeleine and the reflection of people and lights on wet Paris pavements.

In the late nineteenth century, however, there was one fine painter who pioneered in this field and who demonstrated by his superbly handled watercolors how limitless the lure of Paris can be to a painter. He was Eugene Galien-Laloue, now called the "Dean" and often the "Grandpere" of today’s Paris street scene painters. Since that time, though many have followed his example subject-wise, none have approached the very special subtlety and beauty of Laloue’s work.

Laloue was first of al an architect. His youthful training had been on the drafting board and his discipline had been of precision in planning exact measurements and infinite surface detail.

As a student Laloue had been most enthusiastic in delving into the history of architecture and found tremendous pleasure in comparing and analyzing the historical developments of the architectural designs and the forces which shaped various periods, as well as in the linear precision of drafting board work. In spite of his love of drawing up plans and designing exteriors, the business and promotion angles of the profession had no interest for him. He was still a young man when he came to the decision that he would never be completely happy or successful in a permanent career as an architect.

With his tremendous interest in linear forms, it was only a natural sequence for Laloue to turn from the drafting board to experimentation with engraving and other media of the graphic arts. In this field he was able to combine his knowledge and appreciation of architecture with his great feeling for line work. Both as an illustrator and engraver, per se, he achieved a considerable reputation in Paris. However, Laloue reached his full stature as an artist in the field of watercolor and gouache where he could combine all of his many-faceted skills. In this he developed a style uniquely his own.

His line work is unbelievably delicate and sensitive and yet gives great substance to the forms of both his buildings and figures. At first glance his color is softly muted, yet it is rich in tonal quality. He is at once able to combine the beauty of design and color pattern with a strong atmosphere of mood and reality.

His subjects are developed with infinite attention to detail, yet give the impression of spontaneity and easy flowing execution. In studying his work one marvels at the tremendous craftsmanship he developed without, in any way, losing the inspiration, artistry and creative spirit without which such paintings would become coldly mechanical masterpieces.

As both an engraver and painter in watercolor, Laloue was closely associated with the Artistes Francais and was continually invited to be represented in their exhibitions. Also numerous examples of his work were included in the Salon shows, especially during the later years of his life when his reputation had been firmly established.

Laloue, as his work itself would indicate, was far from a prolific painter. His objective was jewel-like perfection. This, combined with great enthusiasm among collectors for his work, meant that the paintings quickly disappeared from the market and today are even more rarely found.

According to the very limited details available about his personal life, Laloue was his whole life a Parisian. He was born in Paris and his work was the dominating interest of his life. At the time of his death he had seen little of the outside world and lived in virtual retirement, but his reputation among collectors traveled infinitely further and his influence on twentieth century painters has been extensive. On those infrequent occasions when one has an opportunity to study his work, one marvels at the great beauty, the very special qualities of perfection and animation, which Laloue achieved in watercolor. Each example of his work is an absorbing study complete in itself in which one continuously discovers new details of sheer loveliness to enjoy.

A Biography of Laloue's Oil Paintings


There are some painters who are easier than others to define. Eugene Galien–Laloue is particularly difficult in this regard. There are few artists who have used so many pseudonyms. Even major reference books show his pseudonyms as if they were different artists. Laloue contributed to this confusion himself, covering his tracks well, perhaps because he had an exclusive contract with a major gallery. After much research, it can be confirmed that Laloue has used the pseudonyms L. Dupuy, J. Lievin, and E. Galiany.

The pseudonym Dupuy is most likely after an early friend of Laloue’s. It is known that Laloue often worked in the style of Barbizon, a village that produced many painters. Dupuy Leon was actually a real person who lived in the area; he did not, however, make a career for himself as an artist. Dupuy would have been seventy-eight when Laloue was twenty and both lived in Fontainbleau. It is possible that Laloue wanted to make his old friend’s name known; to give him a second life in the world of art. The name J. Lievin most likely originated from Laloue’s friendship with a soldier named Jacques from the town of Lieven during the Franco-Prussian war of 1870. Lastly, E. Galiany is simply an Italianized version of his given name Galien.

After dedicating himself to painting, Laloue married and settled into a quiet and simple lifestyle. He was a loner and could be difficult to get along with; he was obsessed with his artwork and his main source of exercise was riding his bike into Paris to paint. It was in Paris that Laloue’s talent was revealed, but it was initiated in the countryside. His favorite seasons to depict of Paris were fall and winter, but for Normandy and the surroundings of Barbizon, he preferred to paint spring and summer.

Laloue loved to paint from nature and never spent a single day without his paintbrushes. He particularly loved rural scenes and picturesque farmyards found around Barbizon. He painted the country and rural scenes entirely on site, but he hated to walk in any mud and even a blade of grass bothered him. It would usually take at least two weeks for Laloue to finish an oil painting, and he had an excellent technique. It is known that Laloue made quite a good living selling his oil paintings of the picturesque countryside.

After the death of his third wife, Laloue went to live with his daughter in her home in Paris. He continued to work incessantly, only stopping to eat. He died at his daughter’s country house in 1941.