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 Jean Louis Boussingault  (1883 - 1943)

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Lived/Active: France      Known for: Parisien high-life, genre scene painting, dance figures, camouflage art

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Ad Code: 4
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from Auction House Records.
Le verre de vin
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This biography from the Archives of AskART:
Please note: Artists not classified as American in our database may have limited biographical data compared to the extensive information about American artists.

Jean Louis Boussingault was a French painter born in Paris in 1883, and he died there in 1943. He was the grandson of a famous scientist and a friend of Dunoyer de Segonzac, with whom he did military service in 1903, and whose studio he shared, and also of Luc-Albert Moreau at the Académie Julian.

While still a young man, Boussingault, who first exhibited in 1909 at the Salon des Indépendants (Nude Woman in a Tall Hat), was commissioned by the couturier Paul Poiret to do a vast decoration crowded with Amazons, mannequins, swings and fabulous staircases. He was hailed as a new Constantin Guys. With a kind of suppressed humour and fundamental bluntness, this frequenter of race-courses and big bars, who had the bony features and colouring of an El Greco, took hold of the fragile present.

Few pictures are as characteristic of the rhythms and the pleasures peculiar to the period of the Ballets Russes and Poiret and the years that followed the 1914-1918 war, in which he was wounded and in which he served as a camouflage artist. 

In 1914, he took a trip to Egypt. For Boussingault, the period after the war was one of uneasiness and searching. He ran away from all influences and sought to express himself in compositions, figures, and still lifes which he exhibited from 1923 to 1927. 

He emerged, enriched by this period of solitude, and his work attained its fullness between 1930 and 1940, fruitful years during which he painted nudes, flowers, portraits and above all still lifes. His faces, particularly in his lithographs and engravings, are essentially Parisian, like his landscapes ( The Champs- Élysées), where intertwined couples and statues, which seem to be made of flesh, stand out clearly against the curtains of the night.

Death came to the painter in the middle of his evolution. His palette, dark at first, grew richer from day to day without losing the style that characterizes all his work. The still lifes and portraits, and the decorations that he executed, particularly for the Théâtre de Chaillot in 1937, show the same sensitivity and subtlety as his drawings, his water-colours, and his illustrations for Baudelaire Le Splees de Paris and Léon-Paul Fargue D'Après Paris.

It is his etchings and lithographs that best demonstrate the brilliancy and sureness of his work, and make him one of the most original engravers of the twentieth century.

"Boussingault Jean-Louis", // (Accessed

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