André-Léon Vivrel (1886-1976) - La plage, temps gris - NO RESERVE

André-Léon VIVREL (1886-1976) The Beach, Grey Weather Oil on marouflaged paper on cardboard Painting dimensions: 25 x 32 cm Artist’s stamp in the lower left corner. Provenance: Private collection, Paris NO RESERVE PRICE Painting in very good condition. New gilt frame. Because the framing is offered, it cannot be insured during transport. Dimensions with the frame: 33 x 41 cm Original work delivered with invoice and certificate of authenticity. Fast, careful, and insured shipping. Buy with confidence! André-Léon Vivrel was born in 1886 in Paris. At only 15, he decided to become a painter. He was supported in this path by his mother, whom he describes as his first teacher, and his father, a wine merchant and First Prize in Drawing in 1870. A student at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Julian Academy in 1910. There he studied under Paul Albert Laurens, then attended the studios of Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rented a studio in Montmartre, at 65 Rue Caulaincourt, just eight doors away from Auguste Renoir’s. His first participation in the Salon des Artistes Français dates from 1913. Mobilized in 1914, he received the Croix de guerre for heroic conduct in 1917. After the war, he returned to his Montmartre studio. He received an honorable mention at the 1920 Salon and the State bought the two still lifes he exhibited at the Salon des Indépendants. He also presented two portraits of Breton women painted after a stay in Ploumanac’h (Côtes-d’Armor). In 1922, Vivrel appeared for the first time at the Salon of the Société Nationale des Beaux-Arts. After receiving the Deldebat de Gonzalva prize in 1932, he earned, the following year, a silver medal at the Salon des Artistes Français with “Le Temps des cerises.” In 1934, Vivrel exhibited bathers, the first painting in a series of large nudes sent to the Salon until 1943. The culmination of his exploration of the female nude, his “Bathers” of 1939 earned a gold medal at the Salon des Artistes Français. This final prize crowns a silver medal earned by Vivrel in 1937 at the International Ex position of Arts and Techniques of Paris. Critics unanimously praised his talent and in 1940 Louis Paillard did not hesitate to write on the front page of the Petit Journal on May 6, 1940: “André Vivrel appears, I declare, as one of the best in this Salon [Salon des Artistes Français].” The exhibition “Vivrel - Recent Paintings,” organized by Galerie de Berri in May 1942, displays, in 31 paintings, the diversity of genres Vivrel tackled, but it is landscape that he pursues with the greatest passion. His country of choice is the Loiret, where his elder brother Marcel has a second home at Château-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, short of money, he retreats there to paint en plein air at minimal cost. In spring 1926, Vivrel returns to Brittany, from which he brings back the “Port of Camaret” shown at the Tuileries Salon in 1926. A few years later, in 1934, he returns to the Côte d’Armor, where he composes seascapes that are studies of the sky. Vivrel spends the summer of 1926 in Corsica. There he makes watercolors that are shown, from autumn onward, at the Galerie Georges Petit and then in New York. Each time, critics unanimously praise their qualities: “The exhibition of André Vivrel is of a sensitive, refined artist, yet expansive in his conceptions. His views of Corsica, Brittany and Paris are like his flowers, delicately harmonious” (“La Semaine à Paris,” November 12, 1926, p. 63). In 1928, he again travels to the Midi. Rendering the warm and vibrant light of Provence, he paints “The Port of Saint-Tropez” exhibited the same year at the Salon des Indépendants. The Mediterranean theme also appears at the Salon des Tuileries, where Vivrel presents harbor views and liners, witnesses to a flourishing tourist industry. When Vivrel is not roaming the roads of France, he makes Paris his model. He paints the lanes of Montmartre and the monuments of the capital, such as Notre-Dame Cathedral, which he reproduces in a series, like Monet. He likes to linger on the quays of the Seine, which offer him many unusual viewpoints of the city and inspire paintings not unlike Albert Lebourg’s Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976. Some images are generated by AI to show what the object might look like in context. Please refer to the original photos and the product description for exact details. #AIContextView

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