Rating and value of still lifes by Guillaume Fouace
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Rating and value of the artist Guillaume Romain Fouace
Guillaume Romain Fouace was a French painter who belonged to the realism movement and produced mainly portraits and still lifes, the latter making up the bulk of his output.
Today, his works are sold for between €500 and €30 490, a substantial range but one that speaks volumes about the value that can be attributed to the artist's work.
In 2008, a still life by Fouace featuring a lobster on a sloping copper plate sold for €24 000. Its value is stable.
Order of value from a simple work to the most prestigious
Technique used | Result |
|---|---|
Flower still life | From €200 to €9,890 |
Animal still life | From €500 to €17,800 |
Still life of vegetables / fruit | From €1660 to 20,000€ |
Fish / shellfish still life | From 50 to 24,000€ |
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Style and technique by Guillaume Romain Fouace
Guillaume Romain Fouace draws inspiration from artists of the 17th and 18th centuries. He pays tribute to the works of great still-life masters such as the French Jean Siméon Chardin or the Nordic painter Pieter Claesz, in an academic and realistic style.
His repertoire encompasses a wide range of still-life subjects, from seafood and shellfish to glassware with a metallic sheen, and a refined transparency that evokes Dutch still-life, including tableaux anciens des écoles du Nord.
Guillaume Fouace also paints genre scenes, infusing them with a familiar, everyday air. In this case, he invites the viewer to identify with the characters in his paintings of everyday life by painting fishing or hunting scenes with great authenticity.
The life of Guillaume Romain Fouace
Born in the hamlet of Jonville in Réville, Guillaume Romain Fouace grew up in the countryside, which quickly gave him a taste for drawing. At first, he was inspired by boats and animals, while young watercolorists gave him his first lessons.
Recruited by the town councillor and curator of the Cherbourg museum, he painted the latter's portrait and was rewarded with a scholarship that enabled him to continue his artistic apprenticeship in Paris.
In 1867, Guillaume Romain Fouace entered the prestigious Ecole des Beaux-Arts in Paris and benefited from the teachings of painter Adolphe Yvon. Fouace began to earn his living with a fair number of portraits in the years 1871-1872, but still life soon became his signature.
Still life came back into vogue in the 1850s. Flemish and Dutch models were much in demand. However, critics and salons continued to view the genre with condescension.
From 1870, Guillaume Romain Fouace regularly exhibited his work at the Salon. His participation in the Paris Salons of 1870 and 1872 established his reputation as a portraitist. Nevertheless, his still lifes were not unveiled to the public until the 1873 Salon.
Over a twenty-four-year artistic career, Guillaume Fouace took part in twenty Paris Salons during his lifetime, at the Palais de l'Industrie. During this period, historical and even religious painting evolved in favor of representations of daily life, the street, the countryside and the world of workers and farmers, while landscape painting occupied an increasingly important place at the Salon.
Guillaume Fouace exhibited abroad in the 1880s and regularly from 1890 until his death. From 1883, he exhibited at the Palais de Cristal in Munich.
L'empreinte de Guillaume Romain Fouace sur son époque
Guillaume Fouace occasionally took an intimate look at his family. For all that, this look at childhood and family intimacy never achieved the prominence in Fouace's work that it did in the work of Millet, Renoir or that of Berthe Morisot.
He was more interested in the worlds of peasants, fishermen and craftsmen for the beauty of the traditions they represented.
Since the Revolution, few painters had taken an interest in the still life genre, considered rather minor.Throughout his career, Guillaume Fouace sought to establish himself in a wide variety of genres, landscapes, portrait
.
Recognizing the artist's signature
Guillaume Romain Fouace signs his works at the bottom of his canvases with his name and the initial of his first name in a relatively fluid, rounded script.
Knowing the value of a work
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