George D'espagnat Biography
Georges d'Espagnat (1870 - 1950) is considered one of the precursors of Fauvism and one of the most representative masters of French Post-Impressionism.
After attending the Ecole des Arts Décoratifs in Paris, he studied at the more "free" Academie de Montparnasse, where he was influenced by Renoir and Sisley.
He made his debut at the Salon des Indépendants in 1892 and participated in the impressionist exhibitions at "Le Barc de Boutteville" between 1894 and 1895. Around 1900 he met the "Nabis" group, in particular Pierre Bonnard, Louis Valtat, Edouard Vuillard , Albert André and Maurice Denis. His important collaboration with the latter gave rise to the renewal of sacred art in France.
D'Espagnat made numerous trips to Europe and Algeria at the beginning of the new century. In 1903 he was one of the founders of the Salon d'Automne and participated until 1949. He also participated in numerous other group exhibitions, including the Salon de la Société Nationale des Beaux-Arts (1893), the first Salon de la Société de Gravure sur bois, the Libre Esthétique of Brussels (1899, 1901) and the Berlin Secession (1904).
The art dealer Durand-Ruel mounted numerous exhibitions for D'Espagnat both in his gallery in Paris and in New York. D'Espagnat was also known for his portraits of illustrious figures such as Paul Valery, André Gide, Maurice Ravel, Francis Jammes, Albert André, Albert Marquet, André Marty and Albert Roussel.
D'Espagnat was appointed professor of the Atelier of the Ecole des Beaux-Arts in Paris in 1934 and executed wall decorations for the Palais de la Découverte (1937), the ceiling for the Victor Hugo room at the Palais du Luxembourg (1939) , a decorative panel for the Palace of Justice in Toulouse (1941) and numerous interior decorations in private homes.
He was also a book illustrator, with works such as “L'Immortel” (1930) by Alphonse Daudet; “La Symphonie Pastorale” by André Gide; and “Clairière dans le ciel” (1948) by Francis Jammes.
D'Espagnat was known for his freedom in the use of color and the imagination of his personal arabesque style and although inspired by impressionist painting, his landscapes and still lifes are distinguished by a more decisive sobriety and greater intimacy, both in composition and in the choice of colours. His original line, with a vaporous and soft touch, profoundly marked his style.
