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©
VEGAP, Madrid
Maximilien Luce

Thicket, Montmartre

1904
Oil on canvas.
60.5 x 74 cm
Carmen Thyssen Collection
Inv. no. (
CTB.1998.39
)
Not on display
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop
In the mythic "history" that has accumulated around Montmartre, the name of the artist Maximilien Luce hardly figures. His paintings do not appear in any of the histories of Montmartre: they did not depict any of the cabarets, dance-halls, or other centres of low life that have come to signify Montmartre. Rather they show a more prosaic view: they are really townscapes, historically valuable in establishing what le vieux Montmartre really looked like in the late 19th century and the first years of the 20th century.

Moreover, Luce was not an artiste maudit, indulging in drink and drugs and leading a promiscuous sex life. There are no scandals, no tales of personal outrage: his only extreme stance was that of an anarchist, contributing illustrations to anarchist periodicals in the 1880s and 1890s.

In 1887, he lived in the rue Cortot, in the same house that Renoir had inhabited in 1876 and that Suzanne Valadon would later occupy. And in 1888 he showed no less than four views of Montmartre in the jury-face Salon des Indépendants. He was then a recent convert to Pointillism, a friend of Seurat, Signac and Camille Pissarro (who actually acquired for his own collection one of these four Montmartre views).

Luce, however, did not produce a long and continuous series of paintings of Montmartre. Apart from a night scene of the rue Ravignan, dating from 1893, he did not return to Montmartre subjects until 1904. By then, his doctrinaire Pointillist approach has been considerably modified. This is apparent in the present painting which in fact depicts the notorious maquis in the slope of the Butte Montmartre. Already this area was threatened with destruction from the creation of new streets and their accompanying large apartment blocks. Luce's 1904 view, without figures and with no other activity, corresponds remarkably closely to certain cartes postales of the period. Indeed, it may be possible that Luce made use of such photographic sources, as Utrillo would frequently do.

Ronald Pickvance

20th Century19th Century - French paintingPaintingOilcanvas
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Private and/or didactic use
Thicket, Montmartre. Matorral, Montmartre, 1904
Thicket, Montmartre
Maximilien Luce

©

VEGAP, Madrid

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The exploitation rights of the images correspond to the Fundación Coleccion Thyssen-Bornemisza, F.S.P. The Fundación authorizes the downloading of high-resolution images from its website for private use, use for educational and research purposes and non-commercial uses.

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Thicket, Montmartre. Matorral, Montmartre, 1904
Thicket, Montmartre
Maximilien Luce

©

VEGAP, Madrid

Terms of Use

The Photo Library of the Museo Nacional Thyssen-Bornemisza offers sale and rental service of photographic material of all the works of the Carmen Thyssen Collection.

To request images or permits for commercial use in academic or research publications, that is, catalogues of other institutions, monographs and other specialized publications, you should contact the Museum's Photo Library by email at the e-mail @email.

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However, photographed works are protected by copyright. Therefore, regardless of the terms of use of the photographs set out below by the Foundation, it will be necessary to obtain a license fromVEGAP (Visual Entidad de Gestión de Artistas Plásticos www.vegap.es) or from the corresponding collective management organizations in the country where the work is going to be used or, where appropriate, from the holder of their rights in order to reproduce or exploit the work.

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