Rue Clignancourt, Paris, on 14th July

Gustave Loiseau

La calle Clignancourt, París, el catorce de julio

Loiseau, Gustave

París, 1865 - 1935

Rue Clignancourt, Paris, on 14th July, ca. 1925

© Colección Carmen Thyssen-Bornemisza

Signed lower right: ''Loiseau''.
Carmen Thyssen-Bornemisza Collection
Location: Thyssen-Bornemisza National Museum, Madrid

Oil on canvas

61 x 50 cm


Artwork history

  • Durand-Ruel Gallery, París

  • Charpentier Gallery, París

  • Edgardo Acosta Gallery, Beverly Hills (CA)

  • Sotheby’s Parke-Bernet Inc., New York, Lot 620,  May 18, 1979

  • Private Collection, L.A. (California)

  • Noortman and Brod Gallery, London

  • Private Collection, New York

  • Christie’s Auctions, New York, lot 286, May 11,  1989

  • Thyssen-Bornemisza Collection, Lugano, 1989

  • Carmen Thyssen-Bornemisza Collection


De Canaletto a Kandinsky. Obras maestras de la Colección Carmen Thyssen-Bornemisza, Madrid, Museo Thyssen-Bornemisza, n. 79, p. 204

1998 - 1999

Masterworks from the Carmen Thyssen-Bornemisza Collection, Tokio, Tokyo Metropolitan Art Museum; Takaoka, Takaoka Art Museum; Nagoya, Matsuzaka Art Museum; Sendai, Miyagi Museum of Art, n. 67, p. 152

2000 - 2001

L'impressionisme i la seva empremta en la col·lecció Carmen Thyssen-Bornemisza, Andorra, Sala d'Exposicions del Govern d'Andorra, p. 38, lám. p. 39


La tradición moderna en la Colección Carmen Thyssen. Monet, Picasso, Matisse, Miró, Málaga, Museo Carmen Thyssen Málaga, p. 90, lám. p. 91


Paisatges de llum, paisatges de somni. De Gauguin a Delvaux. Col·lecció Carmen Thyssen-Bornemisza, Sant Feliu de Guíxols, Espai Carmen Thyssen, p. 110, lám. p. 111


Barcelona, París, New York. D´Urgell a O´Keeffe. Col.lecció Carmen Thyssen. Espai Carmen Thyssen, Sant Feliu de Guixols, 2015.


Josep Amat converses with impressionism. Col.lecció Carmen Thyssen. On-line edition. Espai Carmen Thyssen, Sant Feliu de Guíxols.

  • -De Canaletto a Kandinsky. Obras maestras de la colección Carmen Thyssen-Bornemisza Museo Thyssen-Bornemisza. [Cat. exp. Museo Thyssen-Bornemisza]. Llorens Serra, Tomàs (ed.). Madrid, Fundación Colección Thyssen-Bornemisza, 1996 , n. 79, p. 204. [Sheet by Ronald Pickvance]

  • -Colección Carmen Thyssen-Bornemisza. Arnaldo, Javier (ed.). 2 vols. Madrid, Fundación Colección Thyssen-Bornemisza, 2004, vol. 2, p. 158, lám. p. 159 [ Sheet by Marina Ferretti]

  • -Barcelona, París, New York. D´Urgell a O´Keeffe. Col.lecció Carmen Thyssen. Espai Carmen Thyssen, Sant Feliu de Guixols, 2015, pp. 56. (Exhib. Cat.)

Expert report

As with View of Notre Dame (CTB.1998.61), here Gustave Loiseau chose to paint an area of Paris he had been familiar with for a long time. In 1887, when he had decided to devote himself to painting, Gustave Loiseau had settled in Montmartre, in rue de Ravignan. Rue Clignancourt is only a few steps away, at the foot of the hill it borders to the east. To describe it, the artist placed himself in the corner of the street and of boulevard de Rochechouart, where a brasserie now stands. The area, which is always very busy due to the nearby Tati stores, has changed very little. At the crossroads visible in the foreground, the cars have become more numerous than the strollers, and on the right a newspaper kiosk has replaced the old roundabout. But here again we can appreciate the precision with which the artist observed and recorded the topography of the area. We can easily recognise every detail transcribed on the canvas: the slightly chaotic succession of building façades of different periods and styles, as well as the chimneys and skylights that punctuate the buildings, are immediately identifiable. Flags liven up the scene and dot it with the colours blue, white and red. The crowd has invaded the boulevard, and the bright and clear light is that of a summer day in Paris. Loiseau conveys well the atmosphere of 14 July, a national holiday in France. On the blind side wall of a building situated on the right-hand side of the street and now called-rather surprisingly-“Grand Hôtel de Clignancourt, ” were advertisements, which the artist transcribed and which vary according to the version. In fact, Gustave Loiseau showed a particular predilection for the view of the rue de Clignancourt, which he painted many times around 1925. Always from the same point, the artist represented this urban scene in good and bad weather, with or without flags and in different periods, as indicated by the painted advertisements which vary from one version to the next. He also took up the subject of 14 July the following year, in 1926, in a painting kept at the Dieppe museum. In another version (private collection) the trams and horse-drawn carriages take up as much space as the pedestrians. Finally, another one, The 14th July in Paris (rue de Clignancourt), painted towards 1925, and very similar to the one analysed here, was once in Alain Delon’s collection.

“I only acknowledge having one quality, that of being sincere. I work in my own little corner, as well as I can, and do my best to convey the impression I receive from nature[…] Only my instinct guides me, and I am proud I do not resemble anyone, “1 declared the artist. Nevertheless, his views of Paris clearly recall the streets decorated with flags painted by Monet, such as Rue Montorgueil, Paris, Festival of June 30, 1878 (Paris, Musée d’Orsay) painted in 1878, as well as the series of views of Paris painted by Pissarro from a window, like those of the boulevard des Italiens and the boulevard Montmartre in 1897, or of the avenue de l’Opéra and of the place du Théâtre Français the following year. In a picture like this one, Loiseau shows an undeniable talent, but in 1925 art went through crucial changes which followed from the Impressionist revolution of 1874. Unperturbed, Loiseau continued to depict the Parisian landscape and its delicate light with a gentle brush, showing a sense of space, a vivacity in his touch and a feeling for silvery shades which reveals his unfailing loyalty towards his first masters, Monet, Pissarro and Sisley. With a feeling of nostalgia for the struggle of the New Painting which it had supported and encouraged, the Durand-Ruel gallery bought this painting and backed Loiseau’s art, as it had done fifty years before with the Impressionist pioneers.

Marina Ferretti