.jpg?w=1)
Lot Essay
Peintre et lithographe, chroniqueur et professeur de dessin au lycée de Vanves, Louis Roy rencontre vraisemblablement Paul Gauguin à Pont-Aven en 1889. Ils fréquentent le café Volpini à Paris où se tiennent d'importantes expositions avant-gardistes et où Roy expose en 1889. Une relation de confiance s'installe entre les deux hommes: en 1894 Gauguin confie à Roy la réalisation de tirages de certains de ses bois gravés à Tahiti destinés à illustrer Noa-Noa. Cette collaboration influence probablement Roy, comme le laisse supposer cette nature morte empreinte d'une esthétique toute "pontavénienne" et dont la surface travaillée en profondeur rappelle l'aspect rugueux du bois sculpté.
Louis Roy, painter, lithographer, chronicler and fine art instructor at the Vanves Lycée, likely met Paul Gauguin in 1889 at the Café Volpini in Paris where important avant-garde exhibitions were held and where Roy exhibited that year. A personal friendship and working relationship developed between the two men: in 1894 Gauguin entrusted Roy with the execution of prints for his woodcuts executed in Tahiti destined to illustrate Noa-Noa. This collaboration certainly marked Roy's own work, as evidenced in the present still life with its heavily worked surface recalling rough-hewn woodcut textures.
Louis Roy, painter, lithographer, chronicler and fine art instructor at the Vanves Lycée, likely met Paul Gauguin in 1889 at the Café Volpini in Paris where important avant-garde exhibitions were held and where Roy exhibited that year. A personal friendship and working relationship developed between the two men: in 1894 Gauguin entrusted Roy with the execution of prints for his woodcuts executed in Tahiti destined to illustrate Noa-Noa. This collaboration certainly marked Roy's own work, as evidenced in the present still life with its heavily worked surface recalling rough-hewn woodcut textures.