Among works of great poetic sentiment, here are once again the submissions of Mr Maxence, imbued with a restrained lyricism that is anything but conventional.
Guillaume Apollinaire
Although nothing initially predestined him for an artistic career, the young heir Edgar Maxence quickly expressed his vocation. In his hometown of Nantes, he excelled in learning the fundamentals of painting before joining the École des Beaux-Arts in Paris under the portraitist Jules-Elie Delaunay (1828–1891), who passed away just a few months later. Around this time, in his early twenties, Maxence met Gustave Moreau (1826–1898), a close friend of Delaunay, who would leave a lasting impact on his career.
Moreau became his mentor, colleague, and friend, maintaining a close correspondence with him and considering Maxence one of his finest pupils. Through this connection, Maxence gained recognition among fellow artists and captivated the public with the mystical landscapes he depicted in his works. At the age of 27, he achieved national acclaim when the French state acquired “L’Âme de la Forêt” for the Musée des Beaux-Arts in Nantes in 1898, following its acclaimed presentation at the Salon.
His early works have often been interpreted as a tribute to Gustave Moreau’s persona and artistic legacy. However, in his quest to develop a unique style, Maxence merged esotericism and religious themes, presenting a world where medieval models coexisted with contemporary settings.
“[…] In the middle of his studio, without wasting a minute, all while conversing before his easel, Maxence works. Always in a hurry, always busy, he greets you with a palette in hand—and it is not an affectation. He possesses that great quality that ultimately overcomes all obstacles: never losing sight of one’s goal. Everything in his life is aimed at shaping the future. He truly paints from morning till night.”
Roger Grand, La Revue Nantaise, 1 April 1898
Despite the recognition he earned from his peers and critics, and notwithstanding his academic achievements, Maxence never won the Prix de Rome, despite multiple attempts. His admiration for the Italian Renaissance masters was therefore limited to studying their masterpieces in the Louvre. In response to these setbacks, he joined the circle of artists around Sâr Péladan and exhibited at the Salon de la Rose-Croix between 1895 and 1897, where his portraits and depictions of praying saints drew considerable attention. From then on, he balanced a Parisian clientele, eager for his religious scenes, with the bourgeoisie of Nantes, who readily commissioned his portraits.
The present work is an excellent example of the “praying women” portraits that Maxence continued to paint throughout his career. The composition features a young woman, shown from the waist up, seated on a wooden bench with armrests carved in the shape of female busts. The setting is an interior of a church, with a background featuring an openwork wrought-iron lattice adorned with gilded polylobed shapes, allowing a glimpse of stained glass windows—an element also seen in other works such as “Les Oraisons”. The artist is believed to have drawn inspiration from the choir of the Church of Saint-Nicolas in Nantes.
Through these female figures, Maxence conveys a profound sense of inner contemplation. His inspiration blends Celtic culture and medieval costumes drawn from Breton legends with the enigmatic psychological depth characteristic of the Pre-Raphaelites. The troubadour spirit of the early 19th century is enriched by contradictions—between invention and traditional atmospheres—placing Maxence as one of the most expressive artists of his generation.
To achieve these dreamlike and enigmatic atmospheres, Maxence distinguished himself by developing a sophisticated technique involving a preparatory layer of wax blended with oil, to which he almost systematically added gold highlights, enhancing the precious quality of his works. In addition to his experiments with wax, he varied his techniques, playing with transparency effects through tempera, gouache, and watercolour. Critics recognised in him the chromatic strength of a brilliant colourist.
Edgar Maxence received numerous honours, including two gold medals at the Expositions Universelles of 1900 and 1927. Throughout his career, he remained devoted to a medieval fervour that some considered outdated, particularly in contrast with the revolutionary modernist movements led by Braque, Picasso, and Matisse. Yet, his works retain their timeless quality: in the face of economic and social upheavals, Maxence remained unfazed. Confronted with these meditative female figures, the viewer is inevitably led to the same existential reflections.
M.O
