Louis Valtat

Dr. George Viau, Paris
Sale: V. Winkel & Magnussen, Copenhagen
Probably, acquired by the family of the present owner from the above circa 1930-40

Barcelona, Palacio de Bellas Artes, Exposition d'Art Francais, 1917
Les-Baux-de-Provence, Musée Yves Brayer, Louis Valtat 1869-1952, 2010, no. 15, illustrated in colour on the cover & in the catalogue


To be included in the forthcoming Catalogue de l'œuvre de Louis Valtat being prepared by the association 'Les Amis de Louis Valtat'.

The canvas is lined. There are retouchings along the upper horizontal framing edge which may correspond to previous tacking holes. There are some further scattered spots within the water just below the horizon in the upper right quadrant and a small retouching in the lower left corner. These retouchings are visible under UV light. This work is in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In the present work the Bompart children are depicted turning charmingly towards the viewer; it is however the dramatic backdrop of the cliffs and inviting waters at their base that draw the eye. Executed in circa 1898 Valtat had spent the preceding years absorbing an amalgam of influences through which he derived his own style. The influence of the Impressionists was central to Valtat's artistic development as was that of Van Gogh and Signac. The present work, with its application of small strokes of pure colour demonstrates the influence of the Pointillist canon in particular, whilst anticipating the use of strong colours that would eventually become the hallmark of the Fauve artists.

La Famille Bompart sur les Rochers Rouges à Agay au Soleil brilliantly captures the tranquility and warmth of a summer's day. The cliffs are brought alive by the shifting golden and purple light and a gentle breeze is suggested by the peaceful movement of the trees. Despite the monumental nature of the cliffs and the bold execution of the brushstrokes there is a quietness inherent in the composition which Raymond Cogniat has identified as an underlying characteristic of Valtat's work: 'Valtat was in his own way, an intimiste, not only when he painted interiors or flowers or still lifes in his warm tones, but also when he turned his joie de vivre to the landscapes that indicated his constant preoccupation with the representation of nature as he saw it, bathed in peace and sunlight. His canvases are suffused with light like that of a golden summer's day' (Louis Valtat, Paris, 1963, p. 30)