Impressionism, a historical reconstruction:
Louis Latouche
(1829-1883)
Account
of his exhibited works
Overview:
At the 1st ‘impressionist’ exposition Louis Latouche exhibited 4 works (catalogue numbers 67-70). At the Salon and it’s successor the Salon de la Société des Artistes Français, he exhibited in total 21 works (from 1866-1882). He at least exhibited in Lille in 1866 at a regional exhibition. And posthumously there were 3 works exhibited at the Salon des Indépendants. So he exhibited at least 29 works. All works were oil paintings (maybe SdAF-1880-2142 was an etching). Most of his works were landscapes and marines. No less than 21 works have an indication of place: 12x of Berck (Pas-de-Calais; about 150km north of le Havre; 1874 onwards), 4x of Asnières (Île de la Grande-Jatte; in 1870, 72, 73; north-west of Paris), 1x of Saint-Ouen (1868; north of Paris), 1x of Paris (1874) and 1x of Cayeux (1876; south of Berck); 1x Villerville (1884; 220km south of Berck along the Normandy coast); 1x Bellevue (1884; locatin unknown). 8x Latouche gives an indication of time, season or weather. He never exhibited a study, but the 3 posthumously exhibited works are all called a study. None of the works were a loan. In 1874 three art-critics reviewed his works. They called them exquisite, truthfull and sincere (see below). Burty just mentions him as one of the partakers (R87,p261). See link for an impression of his exhibited pictures in 1874 and for an overview of his known pictures.
1874 reviews:
Burty (1874/04/25) reviewed ‘M. Monet, M. Pissarro, M. Sisley, M. Latouche are pursuing their own personal goals, but with a common doctrine, rendering the general appearance of a landscape as purely as possible. Sometimes the illusion is astonishing. … But often the sacrifices are too visible. The public, for example, will not easily understand, that, while looking at a group of poplars on the banks of a river, the branches no longer stop your gaze. M. Corot has well put in the way; …'(R90I,p38)
Etienne Carjat (1874/04/27) reviewed ‘M. Latouche has 3 or 4 successful canvasses. We have namely noticed: La Plage à marée basses of excellent colour and truthfulness.’ (R90I,p14).
Marc de Montifaud (1874/05/01) reviewed ‘The marine painters could have won the game on their own, as the exhibitors intended.’ and then mentions him in an enumeration ‘M. Latouche, with the Plage marée basse à Berck (Pas-de-Calais);…’ (R90I,p30)
Armand Silvestre (1874/04/22) reviewed ‘But, M. Latouche, who was less known has entried a Vue des quais, which is of a exquisite refinement and a Dessous de Bois, of an admirable sincerity. It is in a muddy place, at the time when the reeds turn silver, so to speak, by the calm and metallic reflection of the waters. This effect is rendered simply and with naive intensity.’ (R90I,p40)
Latouche is also summed up in 5 reviews as one of the partakers by Burty (1874/04/16 + 25), d’Hervilly (1874/04/17), Drumont (1874/04/19) and in La Liberté (1874/04/20).
See the seperate pages on the reviews and on the art-critics.
1874 catalogue: (R2,p121;R90I,p6;iR1)
1IE-1874-67, Clocher de Berck (Pas-de-Calais)
Eng.: the bell tower of Berck. In the first edition of the catalogue 200fr is noted as asking price (R411).
This work was not mentioned in reviews (R90I,p8).
I don’t know of a picture made by Latouche depicting a belltower.
To compare I render a picture of him with in the distance a building with a dome: 1867, Sbl, Bord de mer (Berger dans la campagne romaine), 50×81, A2014/03/17 (iR449;iR10;iR13;iR17).
To compare I also render a detail of a painting of an unknown painter from the École de Berck depicting the St Jean-Baptiste church with its belltower in Berck-sur-Mer, now in Musée de France d’Opal sud in Berck-sur-Mer (M202). For more info on this church see ebay (iR42), a PDF and also.
1IE-1874-68, Vue des quais (Paris)
In the first edition of the catalogue 390fr is noted as asking price (R411).
Silvestre (1874/04/22) remarked ’that is of exquisite finesse’ (R90I,p40).
I couldn’t find a work of Latouche depicting the quays in Paris.
To compare I render a painting of him depicting a shore: 18xx, fishing vessels and figures on the shore, 24×43, A2016/04/08 (iR41;iR17;iR10).
To compare I also render a painting of another artist depicting the quays in Paris: J.B. Jongkind (1819-91): 1854, SDbr, Notre-Dame de Paris vue du quai Saint-Michel avec le Petit Pont, 27x41cm, Louvre Paris.
1IE-1874-69, La plage, marée basse à Berck (Pas-de-Calais)
Eng.: The beach, low tide in Berck (Pas-de-Calais). In the first edition of the catalogue 290fr is noted as asking price and also that it was sold by the Société (R411). In the profit and loss account a commission of 25fr is noted (R415,p366), so probably the painting was sold for 250fr.
Carjat (1874/04/27) calls it ‘of excellent colour and truthfulness.’ (R90I,p14). De Montifaud (1874/05/01) calls him one of the marine painters (R90I,p30).
Note: almost the same title as S1874-1090 and S1878-1328.
Note this work has similarities with paintings made by Lepic in Berck.
As a more uncertain option I render: 18xx, Sbl, Beach Scene, 37×50, A2021/10/10 (iR17;iR13;iR10;R2,p161).
1IE-1874-70, Sous bois
Eng.: undergrowth. In the first edition of the catalogue 900fr is noted as asking price (R411).
Silvestre (1874/04/22) reviewed ‘Dessous de bois of an admirable sincerity. It is in a muddy place, at the time when the reeds turn silver, so to speak, by the calm and metallic reflection of the waters. This effect is rendered simply and with naive intensity.’ (R90I,p40).
To compare I render: 1869, SDbr, Sous bois aux personnages, 45×70, CVdF Fontainebleau (iR10;iR127), probably exhibited as S1869-1383, Sous-bois.
Note: this painting doesn’t match the description of Silvestre, so probably Latouche showed another painting.
Latouche at the Salon:
Latouche did exhibit at the Salon since 1866 (iR1; iR4; R3,p673).
Note: there also was a Lucien de Latouche who exhibited at the Salon and a Gaston (de) Latouche (1854-1913) in 1883 +1884 +1885) (iR1;iR23).
There also was a Latouche exhibiting at the Salon in 1844 / 45/ 48/ 49/ 57/ 59/ 63/ 64/ 65 / 87.
There also was a Henri de La Touche (1785-1851) (iR23)
S1866-1121, Intérieur de bois ; effet du soir
Eng.: forest interior; evening effect.
S1868-1453, Approche de l’orage à la pointe de l’île, à Saint-Ouen
Eng.: Approach of the storm at the tip of the island, in Saint-Ouen. One review comments: ‘The site is well known to landscapers; but Mr. Latouche has given his painting a real charm by observing the values, the atmospheric covering and the beauty of its sky full of thick clouds.’ (aR3=iR40=R265,no16)
S1868-1454, Intérieur de bois
Compare S1866-1121 with (partly) the same theme / title.
One review comments: ‘The site is well known to landscapers; but Mr. Latouche has given his painting a real charm by observing the values, the atmospheric covering and the beauty of its sky full of thick clouds.’ (aR3=iR40)
S1869-1382, Le cours d’eau ; effet du matin
Eng.: The stream; morning effect.
S1869-1383, Sous-bois
Probably: 1869, Sous bois aux personnages, 45×70, CVdF Fontainebleau (iR10;iR127).
Note: this is the same title as 1IE-1874-70 exhibited at the first ‘impressionist’ exposition, but this probably was another picture.
S1870-1600, Le Pont d’Asnières
Eng.: the bridge.
S1870-1601, La Seine à Asnières
x
S1872-940, La maison de Lavoignat à Asnières; île de la Grande-Jatte
x
SdR1873-45, Paysage, soleil couchant
Eng.: landscape, setting sun.
SdR1873-46, Une baraque à Asnières (île de la Grande-Jatte)
Eng.: A shack.
S1874-1090, Marée basse, à Berck (Pas-de-Calais)
Compare: 1IE-1874-69 with almost the same title.
S1876-1203, La mer, à Cayeux (Somme); marée haute
Eng.: the sea, high tide.
S1877-1223, Bateaux berckois, à marée basse
Eng.: Berck boats at low tide.
S1878-1328, Plage de Berck (Pas-de-Calais)
Compare 1IE-1874-69 with partly the same title.
S1879-1784, Soleil couchant à Berck (Pas-de-Calais)
Eng.: setting sun.
S1879-1785, La plage de Berck, le matin; côté Rothschild
Eng.: the beach at Berck, morning.
SdAF-1880-2141, Départ pour la pêche; soleil couchant (Pas-de-Calais) (122x200cm)
Eng.: Departure for fishing; setting sun. In the catalogue is mentioned this work hung in room 28, one of the rooms for the works that were not discharged (‘les non exempts’).
SdAF-1880-2142, La plage de Berck; effet du matin (36x61cm)
Eng.: The beach at Berck; morning effect. In the catalogue was added: ‘Voir sculpture et gravure’, which might depict this was an etching. Looking at the number in the catalogue you would think this was a painting, just as he always exhibited. Looking at the subtitle ‘effet du matin’ you also would expect a painting.
SdAF-1881-1330, La ville de Berck, vue de la plaine.
Eng.: The town of Berck, seen from the plain.
SdAF-1881-1331, La plage de Berk (sic)
Eng.: the beach.
SdAF-1882-1551, Départ de pêche à Berck
Eng.: Fishing departure.
Latouche at the Salon des Indépendants:
Louis Latouche joined posthumously in December 1884 the first Salon des Indépendants (R285,p1015).
1SdI-1884/12-128, Marée haute à Villerville (étude).
1SdI-1884/12-129, Une mansarde (étude).
Eng.: An attic room (study).
1SdI-1884/12-130, Paysage à Bellevue (étude).
Regional exhibitions:
Latouche sometimes exhibited at regional exhibitions (R248).
Lille-1866-927, Intérieur de bois; effet du soir.
Note: the same title as exhibited at the Salon↑ the same year.
Louis Latouche at later auctions:
18xx, Sbl, The hay cart, on panel, 19×18, A1995/04/13 (iR15; iR16; iR100)
18xx, Déjeuner au parc, A1990 (iR16)
18xx, Green field under cloudy skies, ob, 14×23, A1889/11/17 (iR13)
Where did Louis Latouche live?
According to the Salon database (iR1) and other sources Louis Latouche lived at several places in Paris:
In 1866 at the Rue Neuve-Saint-Augustin, 25, (maybe now Rue Daunou, 25; iR1)
From 1867 – 72 at the Rue Lafayette, 34 (where he also had his shop; R22IV,p1016; iR1)
In 1873 at the Rue de la Tour-d’Auvergne, 11 (note the number 12 in the next years; was this an erratum?; iR1)
From 1874-76 at the same Rue de la Tour-d’Auvergne, number 12 (iR1; R2,p121)
In 1877 and 78 at the Rue Bochard-de-Saron, 6 (iR1)
In 1879 at the Rue Neuve-Fontaine-Saint-Georges, 4 (Saint-Georges is a district in Paris; iR1)
From 1880-82 (and maybe until his death in 1883?) at the Rue Fromentin, 4 (in the same Saint-Georges district; iR1)
1884/12 the (posthumous) address given was 6, Boulevard d’Enfer prolongé (près la Rue de la Chaise), in the 7th arrondissement (R285,p1015;iR9).
Recommanded citation: “Impressionism: Louis Latouche, account of his exhibited works. Last modified 2024/10/04. https://www.impressionism.nl/latouche-account/.”