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Student Artwork Guide

Bigoudènes devant les tréteaux

Name Class Date

Lucien Simon, Bigoudènes devant les tréteaux (1940), Musée des Beaux-Arts de Quimper. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Lucien Simon originaluniqueart.com/en/artists/lucien-simon/
Artist’s dates
1861 – 1945
Painted
1940
Held at
Musée des Beaux-Arts de Quimper originaluniqueart.com/en/museums/musee-des-beaux-arts-de-quimper-quimper/

In context

Bigoudènes devant les tréteaux — Lucien Simon

When was this painted?

  1. 1860
  2. 1870
  3. 1880
  4. 1890
  5. 1900
  6. 1910
  7. 1920
  8. 1930
  9. 1940

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 84 at death.

Painted when the artist was 79. The artist lived to 84. 5 of the 7 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Lucien Simon (1861–1945) ▲ this work, 1940 every dated painting, decade by decade

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/lucien-simon-bigoudenes-devant-les-treteaux-D98ENA-en/

Colours

Measured from the image

    Main colour

    Celadon #bbbeb1

    Catalogued palette

    • #BBBEB1
    • #2E312C
    • #71523A
    • #868878

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Celadon
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Bold How much the colours differ in lightness and saturation across the picture.
    Harmony
    Discordant Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Balanced How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Lucien Simon over the last twelve months — 2 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 66.7%
    2. 2 United Kingdom 33.3%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 3 most looked-at works by Lucien Simon

    1. 1 Famille bigoudène en deuil, 1910 66.7%
    2. 2 Abstract Design, 2005 33.3%
    3. — Bigoudènes devant les tréteaux, 1940 this painting 0.0%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 13 works by this artist, of which 2 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Lucien Simon

    A Somber Elegance: The Dark Impressionist Vision

    Lucien Joseph Simon was far more than a chronicler of the French landscape; he was a master of the atmospheric shadows that define the Breton soul. While the broader Impressionist movement often chased the fleeting, sun-drenched brilliance of light, Simon sought a deeper, more resonant truth within the muted tones of the earth and sea. As a prominent member of the Bande Noire, alongside artists like Charles Cottet and Dauchez, he rejected the garish brightness of his contemporaries in favor of a palette that embraced melancholy and mystery. His work captures the heavy, salt-laden air of the coast and the quiet, stoic resilience of rural life, turning simple scenes into profound meditations on existence.

    Academic Foundations and the Mastery of Form

    The technical brilliance of Simon’s oeuvre was rooted in a rigorous academic lineage. After his formative years at the Lycée Louis-le-Grand, he honed his skills under the watchful eye of Jules Didier before entering the prestigious Académie Julian between 1880 and 1883. This disciplined education provided him with the structural command necessary to execute complex compositions with both precision and emotion. He possessed a unique ability to utilize subtle tonal shifts to define the textures of fabric, the warmth of skin, and the weight of an atmosphere. In masterpieces such as Famille bigoudène en deuil, one sees this mastery at its peak, where the somber elegance of mourning attire and the shared sorrow of a family are rendered with a palpable, haunting realism.

    A Legacy of Instruction and Enduring Influence

    Simon’s contribution to the art world extended well beyond his personal canvases; he was a pivotal figure in the cultivation of future generations. In 1902, he co-founded the Académie de la Grande Chaumière with Alice Dannenberg, establishing a vital sanctuary for artistic exploration and growth. His role as an educator at the École nationale des beaux-arts further solidified his importance within the French academic tradition. Even in his final years, Simon continued to explore themes of profound connection and domestic peace, as seen in the evocative Intimité of 1944. His life’s work remains a testament to the power of "Dark Impressionism," leaving behind a legacy that finds enduring beauty within the quiet, shadowed corners of the human experience.

    Museum

    Musée des Beaux-Arts de Quimper

    On show in Quimper, France

    A Breton Jewel: Discovering the Musée des Beaux-Arts de Quimper

    Nestled in the heart of Brittany, France, the Musée des Beaux-Arts de Quimper stands as a testament to both artistic legacy and architectural grace. Facing the majestic spire of Quimper Cathedral and adjacent to the Hôtel de Ville, this museum isn’t merely a repository of art; it's an immersive journey through centuries of European creativity. The story of its founding is itself remarkable—born from the extraordinary vision and generosity of Count Jean-Marie de Silguy, whose bequest in 1864 of over 1,200 paintings, 2,000 drawings, and 12,000 prints formed the very core of the museum’s initial holdings. Silguy's singular condition – that Quimper construct a suitable home for his collection – spurred the creation of an institution that would become one of western France’s principal art destinations. The building itself, designed by Joseph Bigot and completed in 1867, is a striking landmark, its elegant façade echoing the spiritual grandeur of the cathedral it faces. A significant renovation undertaken in 1993 by architect Jean-Paul Philippon embraced transparency as a guiding principle to enhance the viewing experience while preserving the building’s historical charm.

    A Collection of Distinction:

    The Musée des Beaux-Arts de Quimper boasts an impressively diverse collection, specializing in paintings from the 14th through the 20th centuries, with a particular strength in French, Italian, Flemish, and Dutch artistry. Wandering its halls is akin to traversing a landscape of artistic movements and styles.

    Masters of Baroque Drama:

    Immediately captivating visitors’ eyes is Peter Paul Rubens’s monumental The Martyrdom of Saint Lucy, a masterful depiction of Baroque fervor—a dramatic interplay of light and shadow that underscores the saint's unwavering faith amidst suffering. Alongside Rubens, works by Jacob Jordaens, Pieter Bruegel the Younger, and Frans Floris illuminate the vibrant spirit of Flemish painting.

    Italian Elegance & Mythological Tales:

    The museum’s Italian holdings reveal a refined sensibility—Francesco Bassano and Nicolò dell’Abate's canvases whisper tales of mythological grandeur, executed with meticulous detail and bathed in luminous color. These artists skillfully blend classical narratives with artistic innovation.

    The Romantic Spirit of France:

    French luminaries like François Boucher, Jean-Honoré Fragonard, Claude Joseph Vernet, and Hubert Robert capture the essence of the 18th century—a period defined by opulent décor and a fervent embrace of romantic ideals. Their paintings transport viewers to idealized landscapes and aristocratic salons.

    Beyond Painting: Sculpture & Drawings:

    Beyond its celebrated paintings, the Musée des Beaux-Arts de Quimper’s collection encompasses a comprehensive selection of sculptures from French schools of the 17th and 18th centuries—a testament to artistic craftsmanship. Furthermore, thousands of drawings and prints offer intimate glimpses into the creative process itself.

    A Legacy Rooted in Breton Identity & Artistic Innovation

    While embracing a broad European perspective, the Musée des Beaux-Arts de Quimper doesn’t neglect its regional heritage. The museum holds a significant collection of paintings inspired by Brittany itself—a vibrant reflection of the landscape and culture of this coastal region. Particularly noteworthy is the representation of the Pont-Aven School – a late 19th-century artistic movement that flourished in nearby Pont-Aven, attracting luminaries such as Paul Gauguin, Émile Bernard, and Maurice Denis. Their canvases—characterized by bold colors and simplified forms—express a profound connection to Breton nature and a spirit of experimentation.

    Notable Exhibitions & Ongoing Engagement

    The Musée des Beaux-Arts de Quimper’s commitment to showcasing this regional heritage alongside its international collection fosters an ongoing dialogue between artistic trends and local traditions. Temporary exhibitions regularly introduce fresh perspectives, stimulating intellectual curiosity and enriching the visitor experience. Currently undergoing a significant renovation scheduled for completion in spring 2026—with improved energy efficiency, updated facilities, and a reimagined display of its treasures—the museum promises an even more enhanced encounter with art history.

    More Than Just Art: A Cultural Hub

    The Musée des Beaux-Arts de Quimper is more than just a place to admire masterpieces; it’s a vibrant cultural hub for the city of Quimper and beyond. Guided tours offer invaluable insights into the collections, unraveling the stories behind the artworks and providing context for their historical significance. The museum's auditorium hosts lectures, concerts, and other events that enrich the visitor experience. A well-stocked bookstore provides opportunities to delve deeper into the world of art history and discover new artists.

    Where to read more

    Find this online

    QR code linking to the download page for Bigoudènes devant les tréteaux

    originaluniqueart.com/en/art/download/lucien-simon-bigoudenes-devant-les-treteaux-D98ENA-en/

    Cite this artwork

    MLA
    Simon, Lucien. Bigoudènes devant les tréteaux. 1940, Musée des Beaux-Arts de Quimper. https://originaluniqueart.com/en/art/lucien-simon-bigoudenes-devant-les-treteaux-D98ENA-en/
    APA
    Simon, Lucien (1940). Bigoudènes devant les tréteaux [Painting]. Musée des Beaux-Arts de Quimper. https://originaluniqueart.com/en/art/lucien-simon-bigoudenes-devant-les-treteaux-D98ENA-en/
    Chicago
    Lucien Simon. Bigoudènes devant les tréteaux. 1940. Musée des Beaux-Arts de Quimper. https://originaluniqueart.com/en/art/lucien-simon-bigoudenes-devant-les-treteaux-D98ENA-en/
    Harvard
    Simon, Lucien (1940) Bigoudènes devant les tréteaux. Musée des Beaux-Arts de Quimper. Available at: https://originaluniqueart.com/en/art/lucien-simon-bigoudenes-devant-les-treteaux-D98ENA-en/

    Look closely

    Bigoudènes devant les tréteaux — Lucien Simon

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Famille bigoudène en deuil (1910), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. Lucien Simon was about 79 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    What was Lucien Simon's age when "Bigoudènes devant les tréteaux" was created?

    Lucien Simon made "Bigoudènes devant les tréteaux" at the age of 79. The artist was born in 1861 and the work is dated 1940.

    Does "Bigoudènes devant les tréteaux" show strong light-dark contrasts?

    The contrast level of "Bigoudènes devant les tréteaux" by Lucien Simon is bold.

    Is "Bigoudènes devant les tréteaux" available as a fine art print?

    A print of "Bigoudènes devant les tréteaux" by Lucien Simon can be ordered directly on its Fine Art Print page: a fine art print on cotton canvas or archival canvas paper.