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©
VEGAP, Madrid
Gustave Loiseau

View of Notre-Dame, Paris

1911
Oil on canvas.
60 x 60.3 cm
Carmen Thyssen Collection
Inv. no. (
CTB.1998.61
)
Temporary Exhibition Halls
  • 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
Born in Paris in 1865, Gustave Loiseau spent a brief period at the École des Beaux-Arts, but his true masters were clearly the Impressionist painters. From 1889, Loiseau went several times to Pont-Aven where, like his friend Maxime Maufra, he had met Gauguin. The latter had then given him one of his own still-lifes, Flowers, Blue Iris, Orange and Lemon (Boston, MA, Museum of Fine Arts), in memory of their meeting. However, the artist did not show in his paintings a great interest in synthetism; rather, his works revealed him to be much closer to traditional Impressionism. Gustave Loiseau painted the places represented also by Monet, Pissarro and Sisley. He enjoyed depicting the landscapes of the Île-de-France like Pontoise, or the banks of the Seine and the Oise, the Norman cliffs, as well as views of Paris. The Durand-Ruel Gallery supported Gustave Loiseau from 1897 and, just like Maufra, he belonged entirely to the second generation of the Impressionist painters. In fact, Loiseau showed a indisputable talent in his description of light effects full of delicacy, and had a predilection for misty, frosty or snowy atmospheres, and those subtle interpretations set him apart from his post-impressionist and fauvist contemporaries, who were fascinated by the contrast of pure and strong colours. When Loiseau painted View of Notre Dame in 1911, he was living in the quai Saint-Michel, and this painting was very probably executed from the building in the corner of quai Saint-Michel and the place du Petit Pont, where the Notre-Dame Hotel now stands. The bridge we see in the distance indicates that the artist positioned himself on the left bank of the Seine, and that he chose a slightly raised viewpoint. He was Parisian by birth, and spent his childhood on the Île Saint Louis: he was therefore very familiar with the area around Notre-Dame. The comparison between its present appearance and that of the painting shows a very attentive observation of the place as it was at the time. In the foreground, in line with the right-hand border of the façade, we can still recognise, on its stone pedestal, the bronze monument dedicated to Charlemagne built by Charles and Louis Rochet in 1882. The five plane trees aligned to the right of the monument, and the two young chestnut trees have grown to the point that they completely hide the garden and the buildings adjoining the cathedral on the right. The only real change is the widening of the cathedral square to the detriment of the green areas, the limits of which have been pushed beyond the monument to Charlemagne. On the side of the Seine, the garden has also been shortened following work carried out on the verges, and is now reduced to a thin strip of earth. This painting recalls the works depicting the same view executed by Luce, Matisse and Marquet at the turn of the century. But it brings to mind in particular the remarkable series representing Rouen Cathedral painted by Monet in 1893. Contrary to the fragmentary and close-up views adopted by Monet in Rouen, Loiseau chose a more distanced viewpoint and gives us a view of the whole monument. Thus, the composition appears to be much more traditional, in spite of the unusual format of the canvas-almost square-which reflects the proportions of the church façade. The composition, with its predominant horizontal and vertical lines, emphasises the cathedral's volume, and at the same time provokes strong contrasts of light and shade. Following the example of Monet, the artist uses here a thick, rough, almost impasto texture, which expresses the solidity and the weight of the walls. As indicated by the reddish foliage of the plane trees in the foreground and the golden light which bathes the whole scene, the painting was executed in autumn.

Marina Ferretti

20th Century19th Century - French paintingPaintingOilcanvas
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View of Notre-Dame, Paris

View of Notre-Dame, Paris

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La máquina Magritte: Exhibition catalog (Spanish w. English texts)

La máquina Magritte: Exhibition catalog (Spanish w. English texts)

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Poster Richard Estes. Telephone Booths, 1967

Poster Richard Estes. Telephone Booths, 1967

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Arte Americano en la Colección Thyssen (Exhibition catalogue. Spanish)

Arte Americano en la Colección Thyssen (Exhibition catalogue. Spanish)

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View of Notre-Dame, Paris. Vista de Notre-Dame, Paris, 1911
View of Notre-Dame, Paris
Gustave Loiseau

©

VEGAP, Madrid

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View of Notre-Dame, Paris. Vista de Notre-Dame, Paris, 1911
View of Notre-Dame, Paris
Gustave Loiseau

©

VEGAP, Madrid

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