Amédée de La Patellière was born in the vineyards of Nantes, at the Château de Bois-Benoît in Vallet. He spent his childhood in the countryside, which was to be one of the sources of inspiration for his work. After preparing for the Naval School, he entered the Académie Julian in Paris in 1910. He then divided his time between his family home in Bois-Benoît, Paris, and the south of Seine-et-Oise. He was wounded in action during the First World War. On his return from the war in 1919, he spent some time in Tunisia from where he brought back luminous sketches. Settled in Paris, he married Suzanne Lamon in 1924. He was a professor at the Académie Ranson in Paris from 1929 to 1932 and was one of the founding artists of the Young Painting group (with Yves Alix, Robert Lotiron and Louis-Joseph Soulas). contemporary. He was also the friend of Bertrand Mogniat-Duclos. Like his friends André Dunoyer de Segonzac and Henri Le Fauconnier, he announces a form of expressionism, where the dense and dark material, organized in chiaroscuro, gives a solid volume to the rustic subjects he likes. We perceive a distant influence of cubism in his structured compositions, but with an expression of intense gravity (The Rest in the Cellar, National Museum of Modern Art, Paris). His earthy roughness, however, excludes the picturesque, because the artist seems more preoccupied with plasticity than realism.

During stays in Provence, in the last years of his life (1930-1931), his palette diversified. He met the writer Jean Giono, for whom he produced the illustrations for his novel Colline, and whose lyricism was very close to his own.

Seriously ill in 1929, he died in Paris in 1932.

  • Knight of the Legion of Honor (1931) for Fine Arts


July 5, 1890. Amédée Marie Du Bois de La Patellière was born on the Bois-Benoit estate in Vallet, near Nantes. He spent his childhood in the family home of Bois-Benoît as well as in Nantes.

1900. Son father dies. La Patellière becomes friends with the future painter and illustrator Gérard Cochet.

1905-1906. La Patellière wants to prepare for the entrance exam for the naval school. He must give it up because of his myopia. During his stays in Nantes, he frequented the studio of the painter Alfred Leduc with Cochet

1907-1908. La Patellière successfully passes the first and second part of her baccalaureate.

1909. La Patellière lives in Nantes where he studies law. He still frequents Leduc's studio and makes copies at the Nantes Museum of Fine Arts. His first dated and signed paintings date from this period.

1910. In September, La Patellière goes to Paris and enrolls in the Julian Academy.

October 1911 - November 1913. La Patellière did his military service in Nantes in the cavalry (3rd Dragoon Regiment). He produced his first etchings. He still works with Leduc and still frequents the museum. At the end of 1913, he returned to Paris.

1914. La Patellière lives rue du Dragon, then 11, rue Jacob with his brother Louis. He begins to keep a diary. In August, he was employed as quartermaster in the 3rd Dragoons Regiment of Nantes. La Patellière leaves for Belgium and participates in the retreat of the Marne.

1915. He asks to join his brother Louis in the infantry. In September, he was injured in the left shoulder, in Champagne. He receives the military medal, with citation to the Order of his regiment.

1916. In June in Verdun. He was made second lieutenant and transferred to the 269th Infantry Regiment.

1917. La Patellière is again cited in the Order of the division in May. He has a knee injury left in July but fought in the Somme before the end of the year.

1918. La Patellière works on a collection of illustrated poems and also writes a text tolerated in war: The silence of war and the calm of the nights. These collections remain unfinished. He exhibited for the first time at the Sauvage gallery (Paris): “Paintings and landscapes of war” from November 18 to December 3.

1919. La Patellière travels to Cherbourg in February and is demobilized in Angers in July. He stays in Tunisia from November to the end of December where he visits Tunis, Sousse, Sfax and Kairouan.

1920. La Patellière returns to Bois-Benoît then to Paris where he rents a studio in rue Visconti. He remained there until his death.

1921. He stays in Woippy (Moselle), Bois-Benoît and Belle-Isle. Drawings and paintings testify to an influence sometimes cubist, sometimes “art deco”. He exhibited for the first time at the Salon d'Automne: Two Outdoor Nudes and Sleeping Woman.

1922. La Patellière spent a lot of time in the Jardin des Plantes drawing animals there. He stays in Brittany, in the Yonne. He exhibited again at the Salon d'Automne.

1923. La Patellière travels again to Brittany. He exhibited in May at the Salon des Tuileries and at Mignon-Massart (Nantes). He opts for a "brown way" and works with a thick paste. He meets his future wife, Suzanne Lamon. In December, he underwent appendicitis surgery which caused complications.

1924. La Patellière marries Suzanne Lamon (October) in the church of Auteuil. He lives in Brittany. He painted many paintings on the theme of bathers. He exhibited at the Independents.

1925. La Patellière begins the year with a long stay at Cadière d'Azur (Provence) then Paris, Bois-Benoît, La Rochelle (August). He exhibited rural scenes, notably the Abreuvoir (National Museum of Modern Art of the city of Paris), in different places: Salon des Indépendants, Tuileries and Galerie Guiot-Dedouville (Paris). He produced his first lithographs.

1926. La Patellière signs a contract with gallery owner Katia Granoff on 16 January. This allows him to buy a house in Machery (Essonne). His first exhibition at Granoff takes place in March. He also presents paintings at the Salon d'Automne, the Tuileries, and the Independents. His work is then characterized by a voluntary absence of colors (brown period) to better study the light. In December, he was named a member of the Salon d'Automne.

1927. La Patellière spends his year between Paris, Nantes, Machery, Bois-Benoît and Bandol. He remained faithful to the Salon d'Automne and took part in the Bal nègre (February 4). He paints mythical subjects or taken from the Bible such as The Passage of the Red Sea or the Abduction of Europe as well as many "interior paintings" which correspond better to his temperament. The Hand at the Table, the Conversation in the Studio, etc.

1928. La Patellière again divides his year between Paris, Machery, Bois-Benoît, Tarbes, Bandol, Nantes. The Granoff gallery goes bankrupt. He exhibits at the Salons and at the Galerie Bernier (May).

1929. La Patellière moves between Paris, Machery and Bois-Benoît. He fell seriously ill in April, which triggered a series of very dark paintings: The Pasture, the End of the World where black generally dominates. He will teach for a while at the Ranson Academy. He meets the critic Roger Brielle who will write about him for the rest of his life. He left for Saint-Paul-de-Vence (Var) in December. He stayed three months at the Colombe d'Or and created a decoration for the restaurant's dining room. Illustrious Support of the Family, by Alphonse Daudet and Le Fantôme de Kinahan by Doctor Lucien Grault.

1930. La Patellière acquires a house in Vaugrigneuse (Essonne) He exhibits at Bernier (March) and continues to participate in various fairs. He leaves to meet Giono in Manosque for the illustration of Colline. The agreement between the two men is immediate and perfect. He makes a new stay in Saint-Paul-de-Vence from where he brings back many landscapes.

1931. La Patellière works in Paris and Vaugrigneuse and stays in Saint-Paul-de-Vence. He exhibited paintings of a richer and more brilliant style such as La Chemise rose and La Nature Morte au violon as well as his landscapes of Provence in the salons and at Bernier's. He painted frescoes in his house in Vaugrigneuse. On July 15, he was decorated with the Legion of Honor for Fine Arts. La Patellière fell suddenly ill on November 18.

1932. La Patellière dies following a generalized infection, at the clinic of the rue Boileau, in Paris, on July 9.

(source : Les Amis d'Amédée de La Patellière)


  • 1945: retrospective at the National Museum of Modern Art in Paris

  • 1973: exhibition at the Galliera museum in Paris

  • 2014: exhibition co-produced by the Nantes Museum of Fine Arts, La Piscine de Roubaix, the Mont-de-Piété Museum in Bergues and the MUDO - Musée de l'Oise de Beauvais


  • Roger Brielle, Amédée de La Patellière, collection « Les Peintres nouveaux » n° 46, Paris, Gallimard, 1932 (ISBN 9782071004620).

  • Jean Alazard, Amédée de la Patelliere, Pierre Cailler, Genève, 1953

  • Michel Charzat, La Patellière, peintre du réel et du merveilleux, in "La Jeune peinture française", Hazan, Paris, 2010 pp. 87-92

  • Patrick Descamps, Amédée de la Patelliere (1890-1932), les éclats de l'ombre, Catalogue d'exposition, Musée des Beaux-Arts de Nantes, Gourcuff Gradenigo, Paris , 2014


Paris, Musée National d'Art Moderne

Château de Saint-Ouen

New York



Illustrated books

Le Bourgmestre de Stilmonde de Maurice Maeterlinck, illustré de trente bois dessinés et gravés, Paris, 1919

Les Fleurs du mal, pièces condamnées de Charles Baudelaire, illustré de dessins au lavis, Paris, 1931

Le Lac, fresque du lycée Hélène-Boucher à Paris, 1938

Colomba de Prosper Mérimée, 1946

Œdipe en colère de Jean Variot, illustré de pointes sèches, Paris, les Amis du livre moderne, 1955

Le Lys dans la vallée, Le Chef-d'œuvre inconnu et des œuvres de Balzac sur la Touraine

L'Écharpe de suie de Pierre Mac Orlan, illustré de seize aquarelles originale

Le Désert de Bièvres de Georges Duhamel

Histoire d'âne pauvre et de cochon gras de Paul Vaillant-Couturier, éditions La Farandole, 1956

Jean sans pain, histoire pour tous les enfants de Paul Vaillant-Couturier, 1921


Monelle de Montmartre (récit), préface de Pierre Mac Orlan, illustrations de l'auteur, Paris, 1953.

Discrédit (poèmes), Michel Brient éditeur, 1956.

Nacres, thrènes et poèmes, Paris, 1959.