• La Sybille, 1891
  • The Sower, 1888
  • The End of Summer, 2011 -  Vezur
  • Portrait of Josette, 1916
  • The Second Youth, 2011 - Vezur
  • Portrait of a European Lady in Japanese Costume
  • Self Portrait with Arm Twisting above Head, 1910
  • The Banks of the River at Veneux, 1881
  • Lovers: Man and Woman I, 1914
  • Columbus Avenue, Rainy Day, 1885
  • Negress, 1869
  • Blue cow, 2011 - Vezur
  • Daisy fields, 2011 - Vezur
  • Almond Branches in Bloom, San Remy, 1890
  • Orange Trees, 1878
  • Stehend Karyatide, 1913
  • Kelly Pool, 1903
  • Harvest Time, 1878
  • Lady with hat and feather boa, 1909
  • Water Lilies, 1906
  • Jurmala (Sea Pearl), 2011 - Vezur
  • Fields of Gold, 2011 - Vezur
  • Breton Landscape - Fields by the Sea (Le Pouldu), 1894
  • River bank, 2011 - Vezur
  • Passion for Dance, 2011 - Vezur
  • Nabis Landscape, 1890
  • Interior, Woman at the Window, 1880
  • The Boat, 2011 - Vezur
  • Portrait of Felix Feneon, 1890
  • Caricature Self Portrait, 1889
  • The Starry Night, 1889
  • Walk Along The Sea, 2011 - Vezur
  • Dancers, 2011 - Vezur
  • Recumbent Nude, 1917
  • Tree of Life, 1909
  • Idyll in Tahiti, 1901
  • The Kiss, 1908
  • Mother And Child Aka Madonna, 1908
  • Paris Street - Rainy Weather, 1877
  • The Druidess, 1893
  • Ligo Evening, 2011 - Vezur
  • The Midday Nap, 1894
  • House of Blackheads, 2011 - Vezur
  • Buddah In His Youth, 1904
  • Three Sisters at The Three Brothers, 2011 - Vezur
  • Chimney Sweeper, 2011 - Vezur
  • Moonlight, 1874
  • Harlequin, 1890
  • Woman with Black Hat, 1909
  • Entrance to harbor, Moonlight, 1881

Marine bleue, 1893

Marine bleue, 1893

Georges Lacombe

Georges Lacombe took nature and shaped it with his brushes as deliberately as he carved it in wood. Marine bleue models shapeliness on canvas as well as any sculptor could chisel from marble. From the three primary colors, Lacombe created waves fringed with peacock feathered turbulence, flying up in pink mist, as though pointing toward their source in the clouds. The high horizon may be borrowed from the Japanese prints that Lacombe loved, but it suits Lacombe’s intentions. This, like Lacombe’s other paintings, is the coast of Finistere as he experienced it. To be sure, the drama was there in Camaret-sur-mer. The colors were Lacombe’s invention but the ocean crashing against jagged rocks was an unceasing natural drama.

The painting will be delivered unstreched, rolled in protective & presentable case.