DOI Heft:
No. 172 (July, 1907)
DOI Artikel:Frantz, Henri: Louis Gillot: painter and engraver
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20775#0138
Louis Gillot
velvety tones and the water-
colour in its level transpa-
rency. A monotype proof
is a work of art, like a water-
colour or an oil painting,
not only because the proof
is unique, but above all
because it is the original
itself transported on to an-
other substratum whereon
retouches are possible, and
the value of the proof will
turn out to be in inverse ratio
to the number of such re-
touches. Repeated experi-
ments and infinite pains have
furnished us with simple
and fundamental data
"Dieppe" (pastel) by e. l. gillot thereon. Rarely does
chance intervene to pro-
quite young he was attracted exclusively by painting, duce the unexpected, or to modify the final result,
but his parents' wish compelled him to choose a save in the case of a study.
more productive calling. At the same time he M. Gillot may be regarded as the real creator of
painted, almost " on the sly," sent in his work to the monotype, and it is only right that two of
the Salon, was rejected, and set to work again with these works should figure in the Luxembourg,
increased ardour. In 1889, after many disappoint- Henri Frantz.
ments, he had his first picture accepted for the
Salon des Artistes Francais; it was a Paris
scene—La Place Pigalle—and already affirmed
his predilection for the animated, picturesque
and lively scenes of the capital. In the follow-
ing year he was rejected—one knows not why.
Discouraged by the routine spirit of the old
Salon, the young artist resolved to submit his
efforts to the Nationale, and he has since
remained one of its most constant exhibitors.
For three years he displayed paintings and
pastels there, and became an Associate in the
last-named section. During this period—which
was one of hard work and research—he painted
not only a large number of pictures, but also a
decorative panel for the Municipal Council
Chamber of Issy-les-Moulineaux. In 1902,
after many experiments in monotype, the artist
was permitted to exhibit a score of them in
one of the galleries at the Salon. Thereby
he proved his real mastery of this charming
method, which is always well adapted for the
rapid "fixing" of fugitive impressions, and for
recording pictorial thought and preserving its
first freshness.
The monotype, while executed in oils and
preserving the force of touch obtainable by . » ,
v f 3 " la maison de la matineuse" (oil)
that medium, also resembles the pastel with its by e. l. gillot
108
velvety tones and the water-
colour in its level transpa-
rency. A monotype proof
is a work of art, like a water-
colour or an oil painting,
not only because the proof
is unique, but above all
because it is the original
itself transported on to an-
other substratum whereon
retouches are possible, and
the value of the proof will
turn out to be in inverse ratio
to the number of such re-
touches. Repeated experi-
ments and infinite pains have
furnished us with simple
and fundamental data
"Dieppe" (pastel) by e. l. gillot thereon. Rarely does
chance intervene to pro-
quite young he was attracted exclusively by painting, duce the unexpected, or to modify the final result,
but his parents' wish compelled him to choose a save in the case of a study.
more productive calling. At the same time he M. Gillot may be regarded as the real creator of
painted, almost " on the sly," sent in his work to the monotype, and it is only right that two of
the Salon, was rejected, and set to work again with these works should figure in the Luxembourg,
increased ardour. In 1889, after many disappoint- Henri Frantz.
ments, he had his first picture accepted for the
Salon des Artistes Francais; it was a Paris
scene—La Place Pigalle—and already affirmed
his predilection for the animated, picturesque
and lively scenes of the capital. In the follow-
ing year he was rejected—one knows not why.
Discouraged by the routine spirit of the old
Salon, the young artist resolved to submit his
efforts to the Nationale, and he has since
remained one of its most constant exhibitors.
For three years he displayed paintings and
pastels there, and became an Associate in the
last-named section. During this period—which
was one of hard work and research—he painted
not only a large number of pictures, but also a
decorative panel for the Municipal Council
Chamber of Issy-les-Moulineaux. In 1902,
after many experiments in monotype, the artist
was permitted to exhibit a score of them in
one of the galleries at the Salon. Thereby
he proved his real mastery of this charming
method, which is always well adapted for the
rapid "fixing" of fugitive impressions, and for
recording pictorial thought and preserving its
first freshness.
The monotype, while executed in oils and
preserving the force of touch obtainable by . » ,
v f 3 " la maison de la matineuse" (oil)
that medium, also resembles the pastel with its by e. l. gillot
108