Albert André spent his youth relaxes in Laudun where his family possessed grape plantations. Matured 20 he left for Paris where he contemplated painting at the Académie Julian. On a similar course were Louis Valtat, Maurice Denis, and Pierre Bonnard, and like them he started painting in a Post-Impressionist way, utilizing the shadings, light, and topic of the standard Impressionists yet adding more articulation and plan. As ahead of schedule as 1894 André took part in the Salon des Indépendants where his five materials won the appreciation of Auguste Renoir and were purchased by the incredibly well-known and compelling workmanship seller Paul Durand-Ruel.
From 1895-1901, Andre painter appeared at various salons, for example, the Salon des Cent, the Salon des Indépendants, and the Exposition d'Art Nouveau. In 1904, he partook in the Salon de la Libre Esthétique in Brussels at that point, on the greeting of Paul Signac, in the Salon d'Automne. The Durand-Ruel exhibition showed his works in limited shows, a specific honor. At that point in 1912, Albert André's works were shown in New York, and in 1913, he was one of the painters picked to praise the 20th commemoration of the Libre Esthétique in Brussels, on the subject of an understanding of southern France. The town of Laudun was consistently a motivation for him, he painted predominantly in his workshop straightforwardly from memory, as did his impressionist companions. After the First World War, he got back to Laudun where he assumed responsibility for the gallery of Bagnols-sur-Cèze, energized by Renoir. He was a conservator from 1917-1954. In 1918, he composed a monograph on Renoir, the just one composed by a Frenchman during Renoir's life. He proceeded to sort out a review of Renoir's work in 1921, three years after the expert's demise, at the Durand-Ruel display. In 1923, after a fire harmed the exhibition hall of Bagnols-sur-Cèze, André's companions Bonnard, Elie Faure, Durand-Ruel, Monet, Marquet, Signac, and Valtat offered him works for his 'Gallery of void dividers'. It was in the family home that he got his companions, including Cézanne.
He got back to Paris in 1947 where he passed on July 11, 1954, at 85 years of age, not long before the launch of a show of his works at the exhibition hall of Avignon. The Salon d'Automne coordinated a review of his works the next year. Crafted by Albert André are addressed in numerous significant exhibition halls, including the Museum of Modern Art, New York, the Chicago Art Institute, the galleries in Philadelphia and Washington DC, and the Musée D'Orsay in Paris. Grounded from World War I in 1917, he moved to Marseille and afterward to the town of Laudun in the Gard, where he had been an extended get-away since his adolescence as his family claimed a house there along with a little grape plantation. He became caretaker of the workmanship gallery of Bagnols-sur-Cèze, where he stayed until his passing. In 1919, he created a monograph, "Renoir", viewed as "perhaps the most precise contemporary records of the craftsman's work", and in 1921, he coordinated a review of Renoir's work at the Durand-Ruel Gallery. He was additionally extremely near the workmanship pundit George Besson, a companion since 1910. In 1971, Besson chose to offer his craft assortment to the country, giving to the galleries of Besançon and Bagnols-sur-Cèze, where the gallery is presently called Musée Albert-André.
André kicked the bucket on 11 July 1954 at 85 years of age, presently before his works were expected to be exhibited at the Avignon Museum. After his passing, in 1955, the Salon d'Automne coordinated a review of his works. Today a significant number of his artworks are to be found in significant world exhibition halls like the Modern Art Museum of New York, the Art Institute of Chicago, galleries in Philadelphia and Washington DC, Paris' Musée d'Orsay, the Galerie Rienzo, and the Musée Albert-André in France.