Medium: Oil On Canvas
Size: 46 x 42 cm
Signed: lower left: P Vogler
Vogler, the son of a little-known painter, was primarily self-taught. After receiving initial instruction from his father, he received no further professional training, nor did he ever attend a fine art school or academy. He was foremost influenced by and an admirer of Sisley, whose palette and technique he adopted. Though he did not receive formal instruction from Sisley, with whom he was friendly and who helped him in his early career. Vogler was also an intimate friend of the art critic Aurier, the premier defender of Gauguin and Van Gogh.
Vogler possessed an ease and sensibility in his painting that was often noted by his contemporaries. His free application of color earned him a place in the ranks of the Impressionist landscape painters; he had several fervent admirers in the early collectors of this school. Unfortunately he appears to have been profligate with the earnings his success rewarded him. Vogler still produced beautiful canvases known for their fresh, harmonious colors and radiant depiction of light and exhibited along with Bonnard, Vuillard, Lautrec, Anquetin and Signac at the Galerie Vollard, his subjects including Le Canal de Saint-Martin, the Quai de Valmy in Winter, Banks of the Oise at L’Isle Adam, and Meules in the Winter Sun. While Vogler was generally admired, Pissarro criticized him (as Pissarro did Raffaelli and Helleu), when in the later 1880s Pissarro embraced a quasi-pointillist technique that Vogler never embraced. The critic Lugné Poc took a more positive view of Vogler and included his name among several artists he admired, including Vuillard, Denis, and Sérusier.
The view looking towards this famous Parisian monument which features in so many Impressionist paintings is taken from the opposite side from the café at the base of the Mill. Painted in the late 1880s, the scene is still surprisingly rural as this side of Montmartre remains to be developed. It is the same view that Vincent Van Gogh painted in 1887 (now in the Kelvingrove Museum, Glasgow) while Van Gogh painted a further sixteen views in which the windmill can be seen close up or at a distance.