St. Brieuc
Leleux’s success was the signal for a throng of artists to follow in his footsteps, and to-day their number is countless, and the very names of even the most famous would form too long a list to catalogue here.
Among Leleux’s most celebrated canvases were “La Karolle, Danse Bretonne” 1843; “Les Faneuses,” 1846; “Le Retour du Marché,” 1847; “Cour de Cabaret,” 1857; “Jour de Fête en Basse Bretagne,” 1865; and successively the “Foire Bretonne,” “Les Braconniers,” “Le Pêcheur de Homards,” “Pèlerinage Breton,” and “Le Cri du Chouan.”
In all these works one finds the true Brittany of Rosporden and Penmarc’h.
Fortin’s “Cahute de Mendicant dans le Finistère” (1857), “La Bénédicité,” and “La Chaumière du Morbihan” follow Leleux as a good second, then Trayers with “Marché Breton and “Marchande de Crepes à Quimperlé.”
Among other noted pictures are Darjours’s “Palaudiers du Bourg de Batz” and the “Fagotiers Bretons”; Guerard’s “Jour de Fête” and “Messe du Matin, Ille-et-Vilaine”; Fischer’s “Chemin du Pardon” and “Auberge à Scaër,” and Roussin’s “Famille Bretonne.”