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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
Falaise à Étretat par temps ClairOil on Canvas60 x 73 cms / 23½ x 28¾ inchesSigned 'André Barbier' (lower left)Description
A vertical wall of chalk cliff occupies the right of the composition, its pale surface banded with horizontal strata and interrupted by a dark, oval recess near the base. Above, a narrow strip of grass and low shrubs crowns the precipice, set against a clear, high sky. To the left, the sea stretches uninterrupted towards the horizon in graduated tones of turquoise, blue and violet, its surface lightly flecked with broken strokes. The viewpoint is elevated, looking obliquely along the cliff edge so that the mass of rock contrasts with the open expanse of water. The paint is laid in varied touches, from small, directional strokes describing the layered limestone to more fluid handling across the sea. Painted during the artist’s campaigns on the Normandy coast, Falaise à Étretat par temps clair forms part of a sustained study of the site’s distinctive geology under differing atmospheric conditions.
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