{"id":12390,"date":"2026-01-11T13:09:05","date_gmt":"2026-01-11T13:09:05","guid":{"rendered":"https:\/\/galerieballesteros.fr\/portfolio-items\/lucien-simon-1861-1945-female-nude\/"},"modified":"2026-03-07T14:19:52","modified_gmt":"2026-03-07T14:19:52","slug":"lucien-simon-1861-1945-female-nude","status":"publish","type":"avada_portfolio","link":"https:\/\/galerieballesteros.fr\/en\/portfolio-items\/lucien-simon-1861-1945-female-nude\/","title":{"rendered":"Lucien SIMON (1861 – 1945) Female nude"},"content":{"rendered":"

\"Lucien<\/a><\/div><\/div>
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\"Lucien<\/a><\/div><\/div>
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\"Lucien<\/a><\/div><\/div>
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\"Lucien<\/a><\/div><\/div>
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\"Lucien<\/a><\/div><\/div>
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\"Lucien<\/a><\/div><\/div>
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\"Lucien<\/a><\/div><\/div>
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\"Lucien<\/a><\/div><\/div>
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Lucien Simon<\/h2>\n

Lucien Simon delivers a sensual nude with a modern, sculptural touch.<\/strong><\/p>\n

Oil on canvas
\n<\/span>Signed lower left
\n<\/span>Dimensions: 60.5 x 92 cm
\nWith frame: 74 x 105 cm
\nOld label with exhibition number on back<\/h6>\n
We found a preparatory drawing of the same model.<\/h6>\n
sold<\/h6>\n
<\/div><\/div><\/span><\/h6>\n

The painter and his model, by Lucien Simon<\/h3>\n

Her young model, with long Venetian-blonde hair, strikes a pose. Lying on her side, she rests on a blue fabric with a structured drape. The touch is light and sculptural. <\/p>\n

<\/div><\/div><\/span><\/h6>\n

Lucien Simon is a sensitive artist, independent of fashion.<\/h3>\n

Lucien Simon is known as a painter of genre scenes, and his portraits and nudes are the figures and silhouettes of his family life and daily life in Brittany.
\n<\/span>He preserved his artistic independence and distinctive style amidst the new movements of his time.<\/p>\n

<\/div><\/div><\/span><\/h6>\n

Biography<\/span><\/h4>\n

Lucien Simon, born in Paris into a bourgeois Parisian family and died in Sainte-Marine, was a French painter, watercolorist, draughtsman and lithographer. His father was a medical doctor in the Saint-Sulpice district, and his mother came from a family of shopkeepers and lawyers. <\/p>\n

Lucien Simon remained free of the artistic trends of his time. He was not exactly an Impressionist, and turned his back on Cubism and the Dada movement, which overturned the pictorial tradition. <\/p>\n

He was influenced by three great masters.<\/p>\n

\u00c9douard Manet inspired him with his subjects drawn from everyday life, his painting of nudes and his use of bold colors.<\/p>\n

From Diego Velasquez, he focuses on individual portraits and paintings of the human condition, and from Franz Hals on portraits of groups of people.<\/p>\n

Training<\/p>\n

Educated in Paris at the Lyc\u00e9e Louis-le-Grand, he prepared for the \u00c9cole Polytechnique after his baccalaureate, while still wielding pencils and brushes. During his military service, he befriended the painter George Desvalli\u00e8res. He joined Jules Didier’s studio. From 1880 to 1883, he studied with Tony Robert-Fleury and William Bouguereau at the Acad\u00e9mie Julian. <\/p>\n

Artistic career<\/p>\n

Lucien Simon made his debut at the Salon des artistes fran\u00e7ais in 1881 and exhibited at the Salon de la Soci\u00e9t\u00e9 nationale des Beaux-arts. In 1884, his Portrait de Mme Ch. Simon won an honorable mention at the Salon des artistes fran\u00e7ais. He became well known in Parisian society. <\/p>\n

During a trip to the Netherlands, he was influenced by the works of Franz Hals, but considered himself a self-taught painter. “It was at the mutual school of the Atelier Julian that Simon claims to have learned the best of indispensable technique, with George Desvalli\u00e8res, M\u00e9nard and Dinet”. In 1890, he joined the Soci\u00e9t\u00e9 nationale des Beaux-arts, fed up with the academic authoritarianism of the Salon des artistes fran\u00e7ais. Lucien Simon sold his first canvases to foreign collectors, then to the State from 1895. <\/p>\n

In 1891, he married Jeanne Dauchez, sister of Breton painter Andr\u00e9 Dauchez, herself a painter. In the same year, 1891, he met Charles Cottet. It was at this time that Lucien Simon discovered Brittany. He bought a disused semaphore in Sainte-Marine, which he converted into a vacation home for his family and a painting studio in 1902. He stayed there regularly, several months a year. <\/p>\n

Family life was a source of inspiration for him, from portraits of his wife, children and grandchildren to play scenes.<\/p>\n

Lucien Simon’s passion for Brittany, and in particular for the Pays Bigouden (Finist\u00e8re), earned him the nickname “Painter of the Bigouden Country”. He observed and painted the Bretons and Bigoudens, whom he saw at mass, religious festivals, funfairs, on the harbor or in the fields behind his house. Lucien Simon painted Breton landscapes and scenes of daily life. <\/p>\n

In June 1899, he joined the Soci\u00e9t\u00e9 nouvelle de peintres et de sculpteurs, with a first group show at the Galerie Georges Petit in Paris in March 1900.<\/p>\n

The years 1900-1920 marked the peak of Lucien Simon’s career. His reputation led him to travel extensively, and he took part in several international exhibitions (London, Venice, Pittsburgh). <\/p>\n

The French state bought paintings from him (La Procession, 1901, Paris, Mus\u00e9e d’Orsay), as did Japanese, European and American museums and renowned foreign collectors (the Russians Ivan Morozov and Sergei Shchukin). The Prado Museum buys La Le\u00e7on de danse from him. In 1900, Lucien Simon won a gold medal at the Paris Universal Exhibition and was named Chevalier de la L\u00e9gion d’Honneur. In 1911, he was promoted to Officer of the same order. <\/p>\n

Along with Charles Cottet, \u00c9mile-Ren\u00e9 M\u00e9nard, Andr\u00e9 Dauchez and Ren\u00e9-Xavier Prinet, he was part of the group of painters dubbed “La Bande noire” by the critics, no doubt in opposition to the clear canvases of the Impressionists.<\/p>\n

In 1917, he was sent to the front to draw war scenes.<\/p>\n

In the early years of the interwar period, he moved away from contemporary themes to take inspiration from Antiquity, with subjects such as Nausicaa at the fountain.<\/p>\n

After the First World War, Lucien Simon was a recognized painter, painting the crowds at pardons and popular balls with an increasingly colorful palette.<\/p>\n

In 1923, Lucien Simon was appointed professor at the \u00c9cole des Beaux-arts in Paris. He was elected to the Acad\u00e9mie des Beaux-arts on March 5, 1927, and the following year became a member of the Conseil sup\u00e9rieur des mus\u00e9es nationaux. <\/p>\n

in 1933 he was appointed official painter to the French Navy. He also taught at the Acad\u00e9mie de la Grande Chaumi\u00e8re. The French government commissioned several works from him. <\/p>\n

He reduced his official appearances from the 1930s onwards. He was still involved in the creation of the Casa de Vel\u00e1zquez in Madrid, inaugurated in 1929. In 1931, he gave several lectures in Buenos Aires on contemporary French painting. In 1937, he won the Grand Prix at the Paris Universal Exhibition for his decorative panels in the Luxembourg Pavilion: La Procession dansante \u00e0 Echternach, La S\u00fbre and La Moselle. <\/p>\n

During the Second World War, he retired to Sainte-Marine, where he devoted himself entirely to Breton subjects. He painted the landscapes of the Odet, and the daily lives of sailors and farmers. <\/p>\n

Lucien Simon died on October 13, 1945 in Sainte-Marine. He is buried in the Combrit cemetery in Finist\u00e8re. <\/p>\n

A Lucien Simon Association was created in June 2010 by Dominique Boyer, the painter’s grandson.<\/p>\n

His works are scattered around the world: museums in Boston and Philadelphia in the United States, the Buenos Aires Fine Arts Museum, private collections in Japan (Matsukata collection), European museums. In France, several museums hold paintings by Lucien Simon: the Mus\u00e9e d’Orsay in Paris, in the rooms devoted to the painters of the Bande noire, and some Breton museums, such as the Mus\u00e9e des Beaux-Arts in Quimper. <\/p>\n

<\/div><\/div>\n

Museums<\/h4>\n

France<\/p>\n

– Paris, Mus\u00e9e d’Orsay; Palais du Luxembourg; Petit Palais<\/p>\n

– Brest, Mus\u00e9e des Beaux-Arts<\/p>\n

– \u00cele-Tudy, ballroom: decorative paintings, 1898.<\/p>\n

– Loctudy, Kerazan manor, Astor foundation:<\/p>\n

– Combrit – Sainte-Marine<\/p>\n

– Lyon, Museum of Fine Arts<\/p>\n

– Nantes, Mus\u00e9e des Beaux-Arts Paris :<\/p>\n

– Pau, Mus\u00e9e des Beaux-Arts :<\/p>\n

– Quimper, Mus\u00e9e des Beaux-Arts<\/p>\n

– Rennes, Mus\u00e9e des Beaux-Arts<\/p>\n

Spain<\/p>\n

– Madrid, Reina Sof\u00eda Museum<\/p>\n

United States<\/p>\n

– Philadelphia, Philadelphia Museum of Art<\/p>\n

– Pittsburgh, Carnegie Institute<\/p>\n

Hungary<\/p>\n

– Budapest, Museum of Fine Arts<\/p>\n

Romania<\/p>\n

– Bucharest, National Art Museum of Romania<\/p>\n

Russia<\/p>\n

– Moscow, Pushkin Museum<\/p>\n

– Saint Petersburg, Hermitage Museum<\/p>\n

Sweden<\/p>\n

– Stockholm, Nationalmuseum<\/p>\n

<\/div><\/div>\n
\n

Source<\/h4>\n<\/div>\n

https:\/\/fr.wikipedia.org\/wiki\/Lucien_Simon<\/p>\n

\n

https:\/\/bretagne-expertises.com\/julesemile-zingg<\/a><\/p>\n<\/div>\n

<\/div>\n<\/div>
<\/i>Contact<\/span><\/a><\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div>
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