Seignac began his Academic journey in Paris at the Académie Julian in 1889, where he continued to study for the next six years. There, he learned to draw and paint in the Classic style under the best Academic painters of the time, including William-Adolphe Bouguereau, Tony Robert-Fleury, and Gabriel Joseph Marie Augustin Ferrier.
The painter’s body of work mostly portrays the idealized female figure, reminiscent of the Renaissance period. Some paintings focus on the body with beautiful fabrics and ornamented background, like in Jeune Femme Denudée sur Canape - a portrayal of a young woman looking directly at the viewer in a provocative manner. Most Academics were conservative and did not accept a nude portrayal without a mythological reference to the piece, as it was seen as vulgar.
Seignac’s most famous paintings are reminiscent of Classical artworks and focus on mythological characters of ancient Greece and Rome, like Cupid Disarmed, Diana Hunting, and Love’s Advances. He was especially inspired by the artwork of Phidias, a Greek painter, architect, and sculptor - representing reoccurring themes of Academic art. He would exhibit his work at the Paris Salon frequently, beginning in 1897 and winning an honorable mention in 1900 and, three years later, a Third Class medal. The painter continued participating in the prestigious Salon until his death, adding up to more than twenty-five years exhibiting his masterpieces in the Paris Salon.
In 1901, Seignac was honored to be selected as an Officer of the French Academy and as a member of the Society of French Artists. By 1906, the painter delegated the position of Officer of Public Instruction in Art. He became highly successful with his portrayals of beautiful women, and his fame grew even more abroad, especially in the U.S.
He was known by art critiques of the time to be the person to continue with Bouguereau’s legacy as one of the greatest Academic artists of all time.
Guillaume Seignac died in 1924 while his sales abroad were still strong. After the Great Depression hit the United States, his works stopped selling as much, but art dealers came back to purchasing Seignac’s beautiful paintings by the 1940s.