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©
VEGAP, Madrid
Maximilien Luce

Yonne, the Road to Vermenton

1906
Oil on canvas.
50.2 x 68.3 cm
Carmen Thyssen Collection
Inv. no. (
CTB.2000.6
)
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

The world of work grabbed Luce's attention very early on and for a long time. He was the son of a cartwright, later employed in the railways. He spent his youth surrounded by the bustle and noise of the streets in the popular borough of La Gaité, where he was struck by the life of the workers, hard labour and the day to day battle for subsistence.  Since then, he was naturally inclined to represent the workers, the factories, the dockers, the masons, etc... He showed the swarming crowds and the blackness of the northern cities, the ports, the blast furnaces [...]

But, although Luce always liked the lives of the workers, and enjoyed lingering on the representation of labour and of work in the shipyards, as soon as he was away from the cities, he also knew how to abandon himself happily to the emotion he felt before nature.

In 1906, Luce and his family spent their holidays in Bessy-sur-Cure, in the charming region of Yonne.    They went back there for three

consecutive summers, and Luce painted beautiful landscapes in what had become his own manner, free of the theoretical aspect of Divisionism, while becoming increasingly attached to the construction of the subject and the rendering of light.

After showing us the blast furnaces of Charleroi, life and work in the streets of Paris and on the river banks, London in the mist and the sunny French Midi, Luce now enjoyed painting widely open and brightly lit horizons, sunny paths and green countryside.

In what seems like an attempt to get away from the depressing views of factories, Luce painted quiet landscapes of Bourgogne, rivers with clear water, and verges along which it is pleasant to stroll. In this region of the Cure river, he found everything he loved and was appeased by. In a supplement to the Gazette des Beaux Arts of 23 February 1907, published on the occasion of the exhibition in Bernheim's gallery, Paul Jamot wrote: "Luce adores spring and summer, the sweetness of the first warm days, the sumptuous foliage of July, the peace of the summer sunsets, the light clouds which can be seen through the branches in bloom as they cross the sky, [...] the last rays of light of the day and of the season. He likes the trees reflected in the clear water of the river, the emerald meadows, the stone bridges whose arches are like windows open onto the landscape, the willows with gnarled trunks and tender leaves, the peaceful villages appearing behind an opening in the trees, the poplars swaying in the breeze, the vast plains, the large roads [...]."

In Burgundy Luce shows us that besides being the powerful painter of factories and blast furnaces, he has a great sensitivity that makes him appreciate the ordinary things of life.

Luce found the subject of this Shaded Path, painted in 1905, near Bessy. The landscapes representing the Cure are probably the most popular; in them Luce expresses all his emotion as well as all his talent.

Contemplating this shadowed path, we feel at the same time the freshness of the shade of the trees under which it is pleasant to rest and the heat of the summer sun filtering through the branches and sprinkling with light the path along which two girls are strolling.

In The Road to Vermenton of 1906, Luce shows us an open space and the quietness of a rest on the roadside, in the shade of large trees. Here we find again the diagonal construction Luce was fond of, which gives the landscape its sense of perspective, in which he sets a few houses typical of the region. The hillside in the background gives depth to the painting.

Denise Bazetoux
 

20th Century19th Century - French paintingPaintingOilcanvas
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Yonne, the Road to Vermenton. Yonne, la carretera de Vermenton, 1906
Yonne, the Road to Vermenton
Maximilien Luce

©

VEGAP, Madrid

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Yonne, the Road to Vermenton. Yonne, la carretera de Vermenton, 1906
Yonne, the Road to Vermenton
Maximilien Luce

©

VEGAP, Madrid

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