The Montmartre Museum's exhibition "Maximilien Luce: The Instinct for Landscape" presents a comprehensive view of the artist that extends far beyond his well-known Neo-Impressionist works. Running from March 21 through September 14, 2025, the exhibition challenges visitors' expectations by showcasing the full breadth of Luce's artistic vision and political convictions.
While the exhibition poster features a shimmering Neo-Impressionist landscape designed to catch the eye of passersby, it only hints at the more surprising and fascinating works displayed inside. The most captivating pieces are arguably Luce's paintings of the "Black Country" industrial landscapes, which reveal a darker, more complex side of his artistic vision. Reflecting on these industrial scenes, Luce confided to his friend Henri-Edmond Cross: "This country frightens me... It's so terrible and beautiful that I doubt I can render what I see."
The exhibition also highlights the exceptional quality of Luce's drawings and lithographs, alongside an unexpected display case featuring decorative objects he created by hand, including painted wooden boxes and earthenware plates. These works demonstrate that Luce was far more than just a Neo-Impressionist painter, and indeed, he quickly began taking liberties with Paul Signac's teachings while maintaining a close friendship with his mentor.
Luce joined the Society of Independent Artists in 1887 and participated in their jury-free, prize-free exhibitions until his death. His commitment to artistic independence was evident throughout his career - he became vice-president of the Society and later president following Signac's death in 1935. However, his principles led him to resign from the presidency in 1940 to protest discrimination against Jewish artists.
As an anarchist artist, Luce demonstrated his independence of spirit throughout his life, often at personal cost. When President Carnot was assassinated, Luce was arrested simply because he had provided illustrations for anarchist newspapers such as "La Révolte" and "Le Père Peinard." He was imprisoned at Mazas prison, a consequence of his political beliefs and artistic collaborations with radical publications.
The exhibition reveals how Luce's artistic vision was inseparably connected to his political convictions and his instinctive response to landscape. Whether capturing the beauty of countryside scenes or the harsh realities of industrial France, his work consistently reflected both his technical skill and his deep engagement with the social and political issues of his time.
