The division of colors:
These are no longer mixed on the palette, they are placed pure on the canvas, in very small separate touches, and the magic happens in the eye of the viewer.
In 1888, Laugé returned to his village, and there, alone, he let his interpretation of this theory express itself.
At that time, he gave great importance to portraits of his family. His works show a very beautiful technique of colorist and a great talent of drawing.

Laugé quickly developed works inspired by his time, but also innovative.
Certain floral works are inspired by Japanese art. Simple compositions, with fine and delicate colors, with pure lines, personal synthesis of the masters of the print.
From 1900, Laugé intensified his colors. This last trend is related to the development of Fauvism.
At the same time, he distinguishes himself by the geometrisation of his landscapes contrasting with the sinuosity of Art Nouveau.

The landscape
The artist devoted a large part of his career to landscapes.
Two places frequently appear in his work:
The villages of the Aude where he was born, and Collioure, a small port in the south of France.
In 1905, Laugé built himself a studio trailer to work outdoors. Thus, he painted everywhere, summer and winter, and engaged in numerous studies and variations on life, freeing his touch.

Collioure is a small village in the southwest of France. Henri Matisse, soon joined by André Derain, fell under the spell of Collioure during the summer of 1905.
Using "colors that come out of the tube", the two artists concentrated their palette on pure and vivid tones - and thus established the foundations of Fauvism. The Catalan port then welcomed other painters; seduced by the exceptional site, they liked to meet at the Templars' bar. Among them was Achille Laugé,

During the years 1926-1930, Achille painted Collioure many times and often with pastels.
These pastels play with light colors while restoring the warm atmosphere of the southern village.

The composition, built in large lines, shows the famous round tower, next to the church of Notre-Dame des Anges; like a sentinel, it stands over the sea, watching the comings and goings of the sea.
Unlike his pointillist paintings, Laugé has a much freer and less codified touch with pastel. We can see the wild grass in the stones and the waves of the sea symbolized by lines.
A wind of freedom blows in our work.