Le joueur de banjo

Luc-Albert Moreau, a French painter, engraver, lithographer, and illustrator, emerged as a significant figure in the early 20th-century art scene. Initially associated with the Bande noire group, his artistic journey later aligned with the Section d'or, reflecting his evolving style and influences. Moreau's academic path took a turn from law to art when he enrolled at the Académie Julian in 1905, studying under Jean-Paul Laurens and forming a lasting friendship with André Dunoyer de Segonzac. His early career was marked by collaborations and travels, notably with Jean-Louis Boussingault and Segonzac to Saint-Tropez in 1908, where they painted together, capturing the essence of the French landscape. Moreau's participation in the Salon des Indépendants in 1908 marked the beginning of his public exhibitions. His work was further showcased in significant exhibitions, including the Société normande de peinture moderne in 1911 and alongside cubists at the Salon d'automne in 1912. His international recognition was cemented when he was invited to exhibit with the Blaue Reiter in Munich. The First World War interrupted his artistic pursuits, as he was mobilized and severely wounded in 1918. This period profoundly influenced his work, leading to the creation of the Suite de Guerre, a poignant series of war-themed drawings. Post-war, Moreau dedicated himself to lithography, producing notable works such as the Physiologie de la boxe (1926-1929), which became a landmark in sports iconography. His leadership in the art community was recognized when he was elected vice-president of the Société des artistes indépendants in 1919. Moreau's later years were spent in Saint-Tropez, where he, along with Segonzac and André Villeboeuf, acquired and renamed Charles Camoin's house to 'Le Maquis,' a testament to his enduring connection to the place and its artistic legacy.