Gabriel Terrades founded the gallery in 1986 and was joined by Antoine Cahen in 2001. Together, these two enthusiasts are committed to sharing their love of drawing and painting with art lovers and the directors of major institutions.
Their eclectic taste and high standards of quality enable them to take an original look at Italian and French works from the 16th to the early 20th century, with a particular focus on the Spanish school.
Founder of the Salon du Dessin, the Terrades Gallery also exhibits at TEFAF in Maastricht.
Marc MOUCLIER
(Aigre, 1866 – Paris, 1948)
La Lecture au jardin
Oil on canvas
32,5 x 41 cm
Signed and dated lower left: Marc Mouclier 1894
Born in Aigre, in the Charente region, Mouclier moved to Paris, where between 1884 and 1892 he attended the classes of the Académie Julian and the studios of Jules Lefebvre and Tony Robert-Fleury. He also studied at the Académie Colarossi. A lively and energetic young man, Valtat and Vuillard remembered him as a highly engaging correspondent and an exceptionally cultured individual.
Mouclier took part, from 1892 onwards, in exhibitions by Symbolist painters at Le Barc de Boutteville; the reviews of his first period reveal a somewhat synthetic concern, with broad simplifications, vibrant colour harmonies and decorative effects of tone, value and rhythm (Entremer et Gours, 1892, Saint-Germain-en-Laye, Musée du Prieuré).
As a contributor to the Revue Blanche, Mouclier befriended the writers and poets associated with it and collaborated regularly on La Critique and La Revue Blanche. Alongside Vuillard and Bonnard, he supplied a series of illustrations and decorative panels for the latter publication. Around 1900, the artist, keen to capture variations in light, moved towards a freer style, close to Impressionism, and retained little of the Symbolist influence.
After final participations in the Salons des Indépendants between 1903 and 1905, Mouclier retired to the countryside, sharing his time between the Île de France, Tusson in his native Saintonge, Viroflay and Ville d’Avray. He continued to exhibit from time to time, notably at the Salon d’Automne, until 1937.
Dating from the first period of the artist’s career, our painting Reading in the Garden shows a woman seated in a garden reading, as Vuillard had depicted readers, seamstresses and female readers in a domestic setting in works such as Le Livre, painted around 1890.
To reinforce the intimate atmosphere, Mouclier, like Vuillard, does not depict the face of the seated woman, whose body is almost entirely concealed by a white shawl.
Dissolved into the mass of her dress, her face is barely discernible, leaving only a vague indication of the spiritual presence of the reader. Slightly hunched, the figure’s feet are crossed; beneath the wide skirt, they stand out against a darker patch, providing the composition with a clear geometric structure.
The forms are simplified, the colours employed to create a summer atmosphere rich in shadow, and the overall treatment of the large tree in the foreground recalls the curvilinear style of Art Nouveau through the decorative motifs of its trunk and foliage.
A broad decorative impulse runs throughout the composition, a succession of large trees articulated between them like decorative panels.
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