Benjamin-Marie-Albert André (1869-1954), commonly known as Albert André, was a French Post-Impressionist painter whose long career placed him at the heart of one of the richest circles of late nineteenth and early twentieth-century French painting. Born on May 24, 1869 in Lyon, he moved to Paris as a young man to study at the Académie Julian, where he trained alongside painters who would soon reshape French art. His early exposure to the Impressionist and Post-Impressionist generation opened him to a broader painterly vocabulary that emphasized color, light, and the intimate observation of daily life.

André became a close friend and confidant of Pierre-Auguste Renoir, and the two artists maintained a deep personal and professional relationship for many years. Renoir so trusted André's judgment that he asked him to write his biography, and André's writings on the older master remain important primary sources on Renoir's life and thought. André was also closely associated with the Nabis circle, forming friendships with Pierre Bonnard, Édouard Vuillard, and their contemporaries, whose warm domestic subjects and decorative color sensibility clearly informed his own practice. His pictures characteristically include landscapes, still lifes, and intimate figural subjects, often painted with a quiet, contemplative tone.

In 1917, André was appointed curator of the Musée de Bagnols-sur-Cèze in southern France, a position he held for the remainder of his life. Under his guidance, the museum grew into an important collection of French Post-Impressionist and modern painting. He died in Laudun on July 11, 1954, remembered today as both a gifted painter and a devoted steward of the movement to which he belonged.Benjamin-Marie-Albert André began his career by surrounding himself with the great impressionist painters of his time; Paul Cézanne, Louis Valtat, Henry Bataille and most significantly, Pierre-August Renoir. Over the past years, André developed his own unique style that set him apart from his contemporaries. He identified himself with the Post-Impressionists and place greater emphasis on form and content than on surface appearance. Post-Impressionism was both an extension of Impressionism and a rejection of its limitations. Many Post-Impressionists continued using vivid colors, thick application of paint, distinctive brushstrokes and real-life subject matter, but they were more inclined to emphasize geometric forms to distort form for expressive effect, and to use unnatural or arbitrary color. Other Post-Impressionists like André attempted to show the world as it actually is. André channeled this concept with his unpretentious appreciation of the simplest things of everyday life and of nature, a quality also found in the paintings of his old friend, Renoir. André compiled two books on Renoir that expressed his admiration for Renoir's inspiration to paint what was around him.