Benjamin-Marie-Albert André

French, 1869-1954 Biography

A Post-Impressionist artist and painter of ‘intimiste’ interiors, still lives and Parisian scenes, André was born in Lyon in 1869. He spent his childhood vacations in Laudun where his family owned vineyards. At the age of 20, he left for Paris, where he studied painting at the Académie Julian. In the same course were Louis Valtat, Maurice Denis and Pierre Bonnard, and like them he began painting in a Post-Impressionist manner, using the colors, light and subject matter of the mainstream Impressionists but adding more expression and design.

As early as 1894, André participated in the Salon des Indépendants where his five canvases won the admiration of August Renoir and were bought by the extremely famous and influential art dealer Paul Durand-Ruel. From 1895 to 1901, he showed at a number of salons such as the Salon des Cent, the Salon des Indépendants, and the Exposition d’Art Nouveau. In 1904, he participated in the Salon de la Libre Esthétique in Brussels then, on the invitation of Paul Signac, in the Salon d’Automne. The Durand-Ruel gallery showed his works in one-man show, a particular honor. Then in 1912, Albert André’s works were exhibited in New York and in 1913, he was one of the painters chosen to celebrate the twentieth anniversary of the Libre Esthétique in Brussels, on the theme of an interpretation of southern France. The town of Laudun was always an inspiration for him, he painted mainly in his workshop directly from memory, as did his impressionist friends.

After the First World War, he returned to Laudun where he took charge of the museum of Bagnols-sur-Cèze, encouraged by Renoir. He was conservator from 1917 to 1954. In 1918, he wrote a monograph on Renoir, the only one written by a Frenchman during Renoir’s life. He went on to organize a retrospective of Renoir’s work in 1921, three years after the master’s death, at the Durand-Ruel gallery. In 1923, after a fire damaged the museum of Bagnols-sur-Cèze, André’s friends Bonnard, Elie Faure, Durand-Ruel, Monat, Marquet, Signac, and Valtat offered him works for his ‘Museum of empty walls’. It was in his family home that he received his friends, including Cézanne. He returned to Paris in 1947 where he died on July 11, 1954 at 85 years old, just before the opening of an exhibition of his works at the museum of Avignon. The Salon d’Automne organized a retrospective of his works the following year.

The works of Albert André are represented in many important museums, including the Modern Art Museum of New York, the Chicago Art Institute, the museums in Philadelphia and Washington DC, and the Musee d’Orsay in Paris.

Exhibitions:
Salon des Indépendants, Paris, France
Salon des Cent, Paris, France
Exposition d’Art Nouveau, Paris, France
Salon de la Libre Esthétique, Brussels, Belgium, 1904
Salon d’Automne, Paris, France
Durand-Ruel Gallery, Paris, France
20th Anniversary, Libre Esthétique, Brussels, Belgium, 1913

Museums/Collections:
The Louvre, Paris, France
Metropolitan Museum of Art, New York, New York
Musée d’Orsay, Paris, France
Modern Art Museum, New York, New York
Chicago Art Institute, Illinois
Museum of Modern Art, Paris, France
Museum of Art, Lyon, France
Musée des Augustins, Toulouse, France
Museum of Fine Arts, Boston, Massachusetts
National Gallery of Canada, Ottawa
The National Museum of Western Art, Tokyo, Japan
Thyssen-Bornemisza Museum, Madrid, Spain

Oil on canvas
28 x 23 inches
38 x 32 ½ inches framed
Signed lower left: Albert André
Executed circa 1912

This work is accompanied by a certificate of authenticity by Evelyne Yeatman-Eiffel.

Provenance:
Purchased directly from Albert André by the Durand-Ruel Co. on July 4, 1921, stock no. 12001, photo 9722
Sold to Galerie George Petit on April 18, 1925
On Loan at the Los Angeles County Museum, accompanied by the museum's seal, Acc. No: A.809.38-18
Purchased by Galerie Rolly-Michaux Boston-New York, April 17, 1974
Purchased by the Pollack family, descended to Edith Pollack
Purchased from Pollack family

Exhibitions:
André Retrospective, Bordeaux, France

In Femme en Rose Cousant dans le Jardin, André exemplifies this approach as he paints a woman sewing in a garden. According to Evelyne Yeatman-Eiffel, this painting bears a striking similarity to Dans Le Jardin de Laudun, reproduced on page 75 of the monograph Albert André which has been dated to 1912. In Femme En Rose Cousant Dans Le Jardin, André is working with several techniques that are unique for this period in Art history. For examples, the brushwork is specific to Post-Impressionism and in particular, Albert André. He deviates from the dense brushwork commonly associated with the Impressionists. Instead, André takes a unique approach to the canvas by finding a medium between heavy and light pigment use. The color palette is intelligently chosen; André implements contrasting colors which lead the eye around the canvas. With the exception of the garden trellis in the background, André paints all the figures on the same plain, a common theme in Impressionist and Post-Impressionist painting. Femme En Rose Cousant Dans Le Jardin is a perfect example of Albert André’s work and that of the Post-Impressionists.