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Leo Marie Gausson

( 1860 - 1944 )



Leo Marie Gausson

( 1860 - 1944 )


  • Medium: Oil on canvas

  • Signed: Signed and dated 1890 lower left

  • Size: 15.50" x 24.00" (39.4cm x 61.0cm)

  • Framed Size: 22.50" x 31.00" (57.2cm x 78.7cm)

  • Dated: 1890

Additional information

  • Condition: Very good condition

  • Provenance: Private collection - United States

  • Literature: Gausson painted this picturesque view of Triel-sur-Seine, a small town in the Île-de-France, in 1890 - he painted a similar view of the village from the opposite side in 1888 (see Christie's New York - 13th November 2021).
    This painting was executed in the period where Gausson was working with Maximilien Luce and Émile-Gustave Cavallo-Peduzzi - this trio of artists formed what has become known as the “Lagny group,” based between rural Lagny and Paris.
    From 1887, Gausson began showing his work at the Salon des Indépendants. From 1890, the artist moved towards a Symbolist style, embracing flattened colors and arabesque lines in his work - this painting is therefore probably one of his final works in his neo-impressionist period for which he is most cherished.

About this painting

In 1890, French artist Leo Marie Gausson painted a charming scene of Triel-sur-Seine using oil on canvas. The artwork, signed and in very good condition, is part of a private collection in the United States. The painting showcases the village from a perspective that Gausson had depicted before in 1888. This piece is from a period when Gausson collaborated with other artists, creating what is now referred to as the "Lagny group". Gausson's style evolved towards Symbolism around 1890, marked by the use of flattened colours and arabesque lines.

Other Artworks by Leo Marie Gausson

Leo Marie Gausson Biography

View full artist profile

Léo Gausson began studying wood sculpture and then trained in engraving under Chauvel. He became a member of the Neo-Impressionists along with Signac, Maximilien Luce and Pissarro. At this period he received advice from Luce and Pissarro, who influenced his work. Around 1890 he moved in literary circles and associated particularly with Gustave Kahn and Adolphe Retté, whose poems he illustrated. He also played an active part in organising the first Lagny Salons. Later, in 1901, perhaps disheartened, he joined the civil service and was posted to Guinea. He painted in Brittany from 1910 to 1914.


A genuinely talented colourist, he produced fine, picturesque engravings of reproductions copied after Millet's The Gleaners and First Steps. He also executed a medallion portrait of Millet. Around 1890 his style developed towards that of the Synthetists.


From 1887 to 1895 he exhibited at the Salon des Indépendants in Paris; in 1892 he was invited with Luce, Pissarro and Toulouse-Lautrec to exhibit at the Groupe des Vingt exhibition in Brussels. His work has often been shown at exhibitions on the Neo-Impressionists: in 1968, Neo-impressionism at the Guggenheim Museum in New York; in 1978 at the Musée Maximilien-Luce, Mantes-la-Jolie; in 1985 at the Musée Camille-Pissarro, Pontoise; and in 1987-1988 at the Fondation Septentrion, Marcq-en-Barœul. During his life he showed his work in solo exhibitions: in 1896 at the Galerie Lafitte in Paris; in 1899 a retrospective at the Théâtre Antoine in Paris; and in 1988 at the Musée Municipal Gatien-Bonnet in Lagny-sur-Marne.


Museum and Gallery Holdings


Amsterdam (Van Gogh Mus.): Bussy-St-Georges Bell Tower (Le Clocher de Bussy-St-Georges) (1886)

Geneva (Petit Palais): Sailing Ships (Les Voiliers) (1887); Houses, July Sunshine (Des maisons, soleil de juillet) (1886)

Indianapolis (MA): Barges on the Marne at Lagny (c. 1888)

Lagny-sur-Marne (Mus. Gatien-Bonnet)

Paris (Mus. d'Orsay): Road with a Wall running alongside (Chemin bordé d'un mur) (1886)

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