Still Life



Lavergne showed a gift for painting at an early age. At age fourteen he was admitted to Georges Desvallieres' and Maurice Denis' Atelier d'Art Sacre in Paris where the Post-Impressionist heritage was passed on to him. He later went on to study at Beaux Arts. He received scholarships from Maison Descartes in Amsterdam and from the Belgian Government.

In Paris he has exhibited, year after year, in numerous prestigious Salons. They include: the Salon d'Automne, Salon des Jeunes Peintres, Salon International des Beaux Arts, Salon des Artistes Francais and Salon des Independants (of which he is a permanent member). Numerous galleries in Paris, Belgium, Algeria, Austria and the United States have and continue to exhibit and represent his work. In Paris several well-known Galleries have represented his work. One of the best-known was the Gallerie Bosc owned by Petrides, Utrillo's exclusive agent. Mrs. Petrides represented Robert Lavergne's work from 1966 until the closure of the Bosc Gallerie in 1975.

Mr. Lavergne has been selected three times for the Prix Fenon and three times for the Prix Othon Friesz. The outstanding quality of Lavergne's art has been confirmed with his recognition by the world-renowned and respected Benezit. In addition, his work can now be seen in the permanent collection of major French Museums such as the Toulouse Lautrec Museum (Albi), and the Reims Museum.

For the last ten years, Lavergne has been represented in the United States by very fine galleries, first in New Orleans by Lillian Schon Small Fine Arts (1988-91) and later, from 1992 to 1997 by Gallery Michael, located in Beverly Hills (Los Angeles). Gallery Michael is known to be the most powerful dealer of French Art on the West coast. This year, he exhibited at Chrysalis Gallery, in South Hampton (N.Y.).


The first period covers roughly the years from 1945 to 1970. Robert LAVERGNE paints in darkish tones. He mainly produces landscapes, still life studies, and a few portraits. This is a realistic period during which he closely follows his subject matter. A certain predominance of dark colors such as brown earths in his paintings results in a strength and density which does not exclude the subtle use of light.

This somber period may have been the result of visible and invisible scars left by the war. We will note that, with the passage of time, this relative "darkness" shall disappear and that light will be increasingly present in Robert LAVERGNE's work.


Several new developments characterize the second period, which extends from 1970 to 1980. Showing evidence of a concern with space, Robert LAVERGNE produces more landscapes than still lifes and portraits. The Artist places his subjects in larger fields of vision, where depth perception relies more on a choice of colors and values than the geometrical rules of perspective. Space seems to be conceived as a fundamental building material in its own right, its treatment being essentially different from that which classical technique and tradition command. At the same time lighter colors and more open compositions seem to indicate a more cheerful mood for this period.


The third period, extending from 1980 to the present, seems to constitute a logical development of the previous period. The colors gain in intensity, lightness and warmth. Robert LAVERGNE distances himself from his subject matter, freeing his inner vision. This evolution makes for a stronger and better expression of the Artist's emotions.

Every Artist struggles toward an inner liberation of the mind through the expression of his craft. We can well say that Robert LAVERGNE, without ever leaving the canons of post impressionism, exemplifies this process, well along on the road to complete maturity.

2006 Robert Lavergne