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Overview
Claude Monet was so taken with Barbier's works that he sponsored an exhibition of his works with a preface by Monet's biographer and friend, Gustave Geffroy, who urged him to "build of mist and light, a world of poetry"
André Barbier (1883-1970) was born in Arras, France into a family of lawyers. At the age of twenty, Barbier settled in Paris at the Quai aux Fleurs, and in the same year, 1903, he began exhibiting landscapes and still lifes at the Paris Salons. Inspired by his Impressionist forbears, Gustave Courbet, Claude Monet and Camille Corot, Barbier delighted in depicting verdant forests and luminous seascapes at different times of the day and in a variety of atmospheric conditions. Like many of his contemporaries in early nineteenth-century Paris, Barbier travelled extensively in pursuit of subjects for his landscapes. Barbier chose to capture scenes of the Normandy coast and the French Riviera and also travelled further afield to Italy.
Although a follower of the Impressionists, Barbier’s style is wholeheartedly distinct. Barbier built up compositions using delicate layers of paint in a post-impressionist manner, often using a flickering outline to the forms within the landscape and imbuing his compositions with a delicate haze of light. Due to his wealth, much of Barbier's work has remained with his family, but today his paintings are collected extensively in America and Europe and have recently been bought by members of the Monaco and Belgian Royal families.
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Works
André Barbier French, 1883-1970
Paris, le Pont Alexandre III et la Tour EiffelOil on Canvas54 x 73 cms / 21¼ x 28¾ inchesSigned 'André Barbier' (lower left)Further images
Description
The Seine extends across the foreground, its surface animated by broken strokes of pale grey, blue and cream that register shifting reflections. At centre, a low vessel moves along the river, leaving a darker wake that draws the eye towards the far bank. The arch of the Pont Alexandre III spans from right to left, its structure reduced to softened planes beneath a luminous sky. Beyond, the Eiffel Tower rises vertically in the distance, flanked by the gilded statues atop the bridge’s columns, their forms rendered as small accents of warm colour. The viewpoint is set at water level, looking upstream so that bridge and tower align within a compressed horizon. Paint is applied in thin, layered touches, allowing atmosphere to dissolve architectural detail. Painted during the artist’s engagement with Parisian river scenes in the early twentieth century, Paris, le Pont Alexandre III et la Tour Eiffel forms part of a broader exploration of modern landmarks along the Seine.
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