Achille Laugé first developed his distinctive Neo-Impressionist style in Paris in the 1880s, where he attended the last exhibition of the Impressionists and was instantly taken by Georges Seurat’s masterpiece, Un dimanche après-midi à l'Île de la Grande Jatte, now in the Art Institute of Chicago. However, whereas Seurat painted scenes in and around the bustling metropolis, Laugé revelled in the pointillist technique’s scientific and systematic ability to capture the ephemeral flickers of light across the southern landscape. Laugé returned to the south of France after Paris, ultimately residing in Cailhau, near the road from Limoux to Alete-les-Bains where the present work was painted. Here, he translated Seurat’s scientific approach into a freer visual language, one that reflects the immediacy of the sensory landscape. Alternating dabs of rich colour infuse the scene with a sense of dynamism, while longer, impasto brushstrokes provide a newfound sense of structure, typical of the Neo-Impressionist sensibility.
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