Vue des buis à Truffières
Oil on canvas
32.3 x 39.6 in. / 82 x 100.5 cm
L'eventail
Oil on canvas
28.7 x 23.6 in. / 73 x 60 cm
Atelier de Maurice Brianchon avec palette
Oil on canvas
25.6 x 21.3 in. / 65 x 54 cm
Pichet et escargots
Oil on canvas
13.4 x 16 in. / 34 x 41 cm
Cerises
Oil on canvas
10.8 x 11 in. / 27.5 x 46 cm
Jeux de carte
Oil on canvas
14 x 17 in. / 35.5 x 43.5 cm
Jeux de carte et cigarettes
Oil on canvas
14 x 17 in. / 35.5 x 43.5 cm
Nature morte à la plume
Oil on canvas
28.7 x 23.6 in. / 73 x 60 cm
Nature morte et tricolore
Oil on canvas
25.6 x 21.3 in. / 65 x 54 cm
Vue de l'atelier de Maurice Brianchon
Oil on canvas
32 x 25.6 in. / 81 x 65 cm
Nature morte à la théière
Oil on canvas
25.6 x 31.7 in. / 65 x 80.5 cm
Table basse et compotier
Oil on canvas
32 x 25.4 in. / 81 x 64.5 cm
Nature morte aux cigarettes
Oil on canvas
28.7 x 23.6 in. / 73 x 60 cm
Pot de fleurs
Oil on canvas
36.2 x 28.7 in. / 92 x 73 cm
Dimanche à Saint Cloud
Oil on canvas
23 x 31.75 in. / 58.4 x 80.6 cm
Guéridon et plante verte
Oil on canvas
32 x 25.6 in. / 81 x 65 cm
Nestor au salon
Oil on canvas
31.7 x 25.6 in. / 80.5 x 65 cm
Mesure à grains
Oil on canvas
38 x 30.5 in. / 96.5 x 77.5 cm
Marguerites
Oil on canvas
36 x 28.5 in. / 91.5 x 72.5 cm
Chaise, pinceaux et palette
Oil on canvas
39.4 x 32 in. / 100 x 81 cm
Pichets et citrons
Oil on canvas
26.5 x 22.5 in. / 67.3 x 55.9 cm
Carafe et orchidée
Oil on canvas
26.5 x 22.5 in. / 67.3 x 57.2 cm
Téléphone, journal et vase
Oil on canvas
28 x 36 in. / 71.1 x 91.4 cm
Bouteilles et flacons
Oil on canvas
31.9 x 39.4 in. / 81 x 100 cm
Guéridon et dessin
Oil on canvas
39.4 x 31.9 in. / 100 x 81 cm
Abstraction cubiste
Oil on canvas
28.5 x 36.25 in. / 72.4 x 92.1 cm
Compotier et vases bleus
Oil on canvas
38.2 x 30.5 in. / 97 x 77.5 cm
Numéro 63
Oil on canvas
21.5 x 25.6 in. / 54.5 x 65 cm
Rosenberg & Co. is pleased to present Marguerite Louppe: Diagramming Space, the artist’s first solo exhibition in the United States. This exhibition brings together over 30 paintings and works on paper by the artist that draw upon Cubism and Purism to delineate space and color fields while evoking an indelible familiarity.
Marguerite Louppe (1902–1988) was born in Commercy, in eastern France. Soon after her birth, Louppe’s family moved to Paris. In the 1920s, Louppe attended classes at the Académie Julian, the Académie de la Grande Chaumière, the Académie Scandinave, and the Académie André Lhote. These establishments encouraged both teachers and artists to rethink the more standardized methods of traditional French art schools. At the Académie Julian, Louppe’s contemporaries were Jean Dubuffet, Marcel Duchamp, Louise Bourgeois, and Maurice Brianchon, whom she married in 1934.
By the 1930s, Louppe had developed an intimate sense of subject and style: she painted delicate still lifes and interior scenes of life in Paris. She experienced great success in these early years, exhibiting at many Parisian galleries, such as Galerie Charpentier in the 1936 exhibition entitled Premier Salon de la Nouvelle Génerátion, which showed the “elite of the young painters.” That same year, the French state acquired one of her paintings, now held by the Centre Pompidou.
After living and working together in Paris, where they entertained a rich social life and hosted regular salons, Louppe and Brianchon purchased a country home in Dordogne in the 1950s. Here, Louppe had a dedicated studio space for the first time in her career. This period saw her greatest output. Her early, soft interior scenes evolved into theoretical examinations of artistic practice itself. Her studio became one of her primary subjects, as did the garden and landscape surrounding her country home. By the 1960s, her landscapes utilized both a Diebenkorn-like abstraction and the linear refractions seen in her earlier work.
Over the course of her career, Margeurite Louppe balanced traditional figuration with modernist methods of abstraction. She embraced a contradiction and tension between the straightforwardness of her arrangements and the singularity of her planar compositions. Louppe’s spatial diagramming and unpredictable orchestration of color combine to define her oeuvre, as evident in works such as the angular Nature morte aux cigarettes, the light-struck Carafe et orchidée, and the subtle Atelier de Maurice Brianchon avec palette. Art historian Karen Wilkin writes, “Louppe’s paintings reveal their full complexity and inventiveness slowly. They demand that we pay close attention and reward us when we do.”
Over the course of her career, Marguerite Louppe balanced traditional figuration with modernist methods of abstraction. While working in Paris in the 1930s and 1940s, Louppe's still lifes and interior scenes drew from the subjectivity and saturated hues of Post-Impressionism. This early style was very successful and in 1936 the French state acquired a painting that is now held by the Centre Pompidou. Over time, Louppe’s work synthesized the mathematical tendencies of Purism and Cubism, and become more planar and geometric. By the 1960s, her landscapes utilized both a Diebenkorn-like abstraction and the mastery of color seen in her earlier work.
Additionally, Rosenberg & Co. is excited to announce our representation of The Estate of Marguerite Louppe and Maurice Brianchon. These two great artists were married from 1934 to 1979, and through their artistic partnership were pillars of midcentury French art. We are delighted to support the stewardship of their work and legacies, and we look forward to presenting their fine work.
Marguerite Louppe: Diagramming Space is accompanied by an exhibition catalogue. For more information, click here.
