Revolutionary in both his art and his politics, Maximilien Luce was a familiar figure in the popular cafés of late 19th-century Paris. Luce studied under Carolus-Duran and then perfected his drawing skills at the École de dessin des Gobelins. But by far, the most influential of Luce’s mentors was Camille Pissarro. Pissarro not only taught Luce the techniques of landscape painting but also shared with the budding artist his love of nature and his sincere friendship. The versatile Luce, like many of his contemporaries, experimented with several of the modern painting techniques and schools developing in France throughout his career. Luce created an oeuvre of astounding diversity that reflects this period of stylistic profundity.

Luce’s affiliation with Pissarro led to a shared fascination with the Divisionist technique and the scientific analyses of Georges Seurat. In 1887, Luce exhibited, along with Seurat, at the Salon des Indépendants with Neo-Impressionist paintings and founded l’École des Neo-Impressionistes with Paul Signac. Typical of the Pointillists, Luce also preferred the depiction of the working class rather than the elegant bourgeoisie.

At the turn of the century, Luce grew weary of Pointillism and reverted back to the Impressionist style, as in Route de Campagne à Moulineaux, painted in 1905, which also typifies his penchant for rural life. In addition, it reveals the influence of the newly debuted Fauves, yet another growing artistic movement headed by Henri Matisse, whereby non-naturalistic colors were used to evoke emotional response. The Fauves dominated the Salon d’Automne in 1905.

The later work Le Ramassage des Galets, painted circa 1933, exhibits a paler palette and more subdued blending of tones but remains demonstrative of Luce’s mature Impressionist technique.