ANDRÉ-LÉON VIVREL (1886-1976) - Lot 20

Lot 20
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ANDRÉ-LÉON VIVREL (1886-1976) - Lot 20
ANDRÉ-LÉON VIVREL (1886-1976) Collection of eight works Seaside landscapes, including Porquerolles and Brittany, and country landscapes Oil on paper Signed lower right or left (Tack holes in the corners, small tears and a few split edges and slight creases) A set of eight works, oil on paper, signed lower right or left Ca. 27 x 41 cm - Ca. 10 5/8 x 16 1/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A student at the prestigious Lycée Louis-le-Grand in Paris, Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, the eldest son of Jean-Paul Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from that of Auguste Renoir, the painter he admires most of all. He first exhibited at the Salon des artistes français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for "heroic conduct" in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought two still lifes (not located), which he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women, painted on his return from a stay in Ploumanac'h (Côtes d'Armor). The Galerie Lorenceau (Paris) gave him a one-man show in 1920. In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After being awarded the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des artistes français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des artistes français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive, fine, yet broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme also made its mark at the Salon des Tuileries, where Vivrel presented views of harbors and liners, evidence of a flourishing tourist industry. In 1947, he was awarded the Prix de l'Académie des Beaux-Arts. When Vivrel wasn't on the roads of France, he took Paris as his model. He paints the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he paints in series like Monet. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976. Vivrel is represented in the collections of the Musée Eugène-Boudin in Honfleur and the Musée Mandet in Riom. His tablea
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