Renoir's Dancer
Page 43
CHAPTER 13
1. Georges-Emmanuel Clancier, La Vie quotidienne en Limousin au XIXe siècle (Paris: Hachette, 1976), p. 145.
2. ‘Appel aux Parisiennes’, Le Figaro, 4 August 1914, p. 2.
3. ‘Appel aux Parisiennes’, Le Figaro, 4 August 1914, p. 2.
4. ‘Appel aux Parisiennes’, Le Figaro, 4 August 1914, p. 2.
5. Art of Our Century, ed. by Jean-Louis Ferrier, trans by Walter D. Glanze (Harlow, Essex: Longman Group UK Ltd, 1990), p. 146.
6. Suzanne and Utter’s marriage certificate is reprinted in Suzanne Valadon – 1865–1938, exhib. cat. (Martigny, Switzerland: Fondation Pierre Gianadda, 1996), p. 253.
7. Utter has always been recorded as first joining the 158th Infantry Division. However, Heuzé (who was signed up after Utter) remembered them fighting in the 22nd Infantry Battalion together. See J.P. Crespelle, Montmartre Vivant (Paris: Hachette, 1964), p. 171.
8. On Paris the day after war was declared, see ‘La Journée – Quelques impressions de Paris’, Le Figaro, 4 August 1914, p. 2.
9. I am grateful to staff at the Lapin Agile for confirming the function of the venue during the First World War. June Rose, Mistress of Montmartre: A Life of Suzanne Valadon (London: Richard Cohen Books, 1998), p. 160.
10. Stéphane Audoin-Rouzeau and Annette Becker, La Grande Guerre 1914–1918 (Paris: Gallimard, 1998), p. 27.
11. This was recounted by Paul Pétridès. See L’Oeuvre complète de Suzanne Valadon, ed. by Paul Pétridès (Paris: Compagnie française des arts graphiques, 1971).
12. Rose, p. 160.
13. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published in Valadon Utrillo: Au tournant du siècle à Montmartre – de l’Impressionisme à l’École de Paris, exhib. cat. (Paris: Pinacothèque de Paris, 2009), pp. 65–131 (pp. 110–11).
14. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published in Valadon Utrillo: Au tournant du siècle à Montmartre – de l’Impressionisme à l’École de Paris, exhib. cat. (Paris: Pinacothèque de Paris, 2009), pp. 65–131 (p. 112). On Reims Cathedral, see Encyclopaedia Brittanica Online: https://www.britannica.com/topic/Reims-Cathedral [accessed 29 December 2016].
15. Robert Coughlan, The Wine of Genius: A Life of Maurice Utrillo (London: Gollancz, 1952), p. 68.
16. Letter from Maurice Utrillo to Suzanne Valadon, dated 8 December 1914, cited in Gustave Coquiot, Des Peintres maudits (Paris: André Delpeuch, 1924), p. 178.
17. Art of Our Century, ed. by Jean-Louis Ferrier, trans. by Walter D. Glanze (Harlow, Essex: Longman Group UK Ltd, 1990), p. 148.
18. On this exhibition, see Berthe Weill, Pan! … dans l’Oeil (Paris: L’Échelle de Jacob, 2009), p. 113.
19. Suzanne Valadon’s portrait is reproduced in Jean Fabris, Utrillo, sa vie, son oeuvre (Paris: Éditions Frédéric Birr, 1982), p. 51.
20. Weill, p. 120.
21. Weill, p. 120.
22. Weill, p. 120.
23. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published in Valadon Utrillo: Au tournant du siècle à Montmartre – de l’Impressionisme à l’École de Paris, exhib. cat. (Paris: Pinacothèque de Paris, 2009), pp. 65–131 (pp. 110, 113). Fabris, p. 60.
24. Madeleine Valadon’s death certificate is transcribed in Fabris, p. 60.
25. Suzanne Valadon talking to Mme Camax-Zoegger, recounted in ‘Pour les futurs biographes de Suzanne Valadon et d’Utrillo’, Cahiers de France, October 1938, p. 86.
26. Bulletin municipal official de la ville de Paris, 30 July 1915, p. 1631.
27. James F. McMillan, Twentieth-Century France: Politics and Society 1898–1991 (London, New York, Sydney and Auckland: Arnold, 1992), p. 68.
28. Alistair Horne, Seven Ages of Paris (London: Pan Macmillan, 2003), p. 360.
29. McMillan, p. 70.
30. John Storm, The Valadon Drama: The Life of Suzanne Valadon (New York: E.P. Dutton & Co., Inc., 1959), p. 202.
31. Storm, p. 202.
32. June Rose cites a letter to Adolphe Tabarant written in 1915 in which Suzanne announced the marriage. See Rose, p. 165.
33. ‘Nouvelles Diverses – La Température’, Le Figaro, 24 January 1917, p. 4.
34. ‘Nouvelles Diverses – La Température’, Le Figaro, 24 January 1917, p. 4.
35. ‘Le Froid et le charbon’, Le Figaro, 1 February 1917, p. 2.
36. Suzanne’s correspondence with Adolphe Tabarant was only discovered recently. See Rose, pp. 167–9.
37. Rose, pp. 168–9.
38. On the mutinies and General Nivelle’s offensive, see Audoin-Rouzeau and Becker, pp. 88–9.
39. On the Berthe Weill exhibition, see Louis Vauxcelles, ‘A travers les expositions’, Le Carnet des Artistes, 15 March 1917, p. 19.
40. On the Galerie Bernheim-Jeune, see: http://www.bernheim-jeune.com/story/ [accessed 10 January 2017].
41. Pinturriehio, ‘La Serie D et Borgeaud’, Le Carnet de la semaine, 5 May 1917, p. 7.
42. Louis Vauxcelles, ‘A travers les expositions’, Le Carnet des Artistes, 15 May 1917, p. 6.
43. Several of these letters are reproduced in Paul Pétridès, Ma Chance et ma réussite (Paris: Plon, 1978), pp. 112–15.
44. Pétridès, p. 113–14.
45. Rose, p. 171.
46. Louis Libaude wrote in response to Utter on 1 September 1917. See Fabris, p. 49.
47. Arsène Alexandre, ‘Edgard Degas’, Le Figaro, 28 September 1917, p. 1.
48. On Degas’s funeral, see Albert Flamant, ‘Jours de Guerre’, Le Monde Illustré, 20 October 1917, p. 212.
49. ‘Nouvelles Diverses – Le Froid’, Le Figaro, 1 January 1918, p. 4.
50. Letter reproduced in Fabris, pp. 62–3.
51. On Big Bertha, see Horne, pp. 351–2.
52. Coughlan, p. 69.
53. Horne, p. 365.
54. On Paris on Armistice day, see: ‘La Joie de Paris’, Le Figaro, 12 November 1918, p. 2. Horne, pp. 364–5.
55. ‘La Joie de Paris’, Le Figaro, 12 November 1918, p. 2.
56. Storm, p. 202.
57. Storm, p. 204.
CHAPTER 14
1. Georges-Emmanuel Clancier, La Vie quotidienne en Limousin au XIXe siècle (Paris: Hachette, 1976), p. 143.
2. Colin Jones, Cambridge Illustrated History of France (Cambridge: Cambridge University Press, 1994), pp. 248–57.
3. On unusable agricultural land, see Jones, p. 248
4. Alistair Horne, Seven Ages of Paris (London: Pan Macmillan, 2003), pp. 379–85.
5. Margo Lestz, ‘History of Jazz in France’, The Good Life France http://www.thegoodlifefrance.com/history-jazz-france/ [accessed 24 January 2017].
6. Jones, pp. 255–7.
7. Berthe Weill, Pan! … dans l’Oeil (Paris: L’Échelle de Jacob, 2009), pp. 130–3.
8. Jean Fabris, Utrillo, sa vie, son oeuvre (Paris: Éditions Frédéric Birr, 1982), p. 64. James F. McMillan, Twentieth-Century France: Politics and Society 1898–1991 (London, New York, Sydney and Auckland: Arnold, 1992), p. 82.
9. June Rose, Mistress of Montmartre: A Life of Suzanne Valadon (London: Richard Cohen Books, 1998), p. 175.
10. On this work, see Valadon Utrillo: Au tournant du siècle à Montmartre – de l’Impressionisme à l’École de Paris, exhib. cat. (Paris: Pinacothèque de Paris, 2009), p. 292.
11. André Utter’s boast has been translated variously. See for example: Robert Coughlan, The Wine of Genius: A Life of Maurice Utrillo (London: Gollancz, 1952), p. 86. Maximilian Ilyin, Utrillo (London & Paris: A. Zwemmer and Fernand Hazan, 1953), p. 5.
12. Fabris, p. 64.
13. Rose, Mistress of Montmartre, p. 178.
14. On Zbo, see June Rose, Modigliani: The Pure Bohemian (London: Constable, 1990), p. 146.
15. Rose, Mistress of Montmartre, p. 178.
16. ‘La Peinture et la sculpture au Salon d’Automne’, Comoedia, 4 November 1919, p. 1.
17. Weill, p. 132.
18. John Storm, The Valadon Drama: The Life of Suzanne
Valadon (New York: E.P. Dutton & Co., Inc., 1959), pp. 200–1.
19. Fabris, p. 66.
20. On Renoir’s demise, see Jacques Lassaigne, Impressionism, trans. by Paul Eve (London: Heron Books, 1966), pp. 190–2.
21. Rose, Modigliani, pp. 209–13.
22. Le Bulletin de la vie artistique, 15 January 1920, p. 101.
23. On the Anti-skyscraper party, see: ‘Le Maire de Montmartre’, La Presse, 12 April 1920, p. 2. Jean Émile-Bayard, Montmartre Past and Present, trans. by Ralph Anningson and Tudor Davies (London: T. Fisher Unwin Ltd, 1926), pp. 96–107.
24. Émile-Bayard, pp. 96–107.
25. M. Castaing, ‘Le Salon des Indépendants’, Floréal, 14 February 1920, p. 160. ‘Le Salon des Indépendants’, Le Populaire de Paris, 29 January 1920, p. 1. Morin-Jean, ‘Au Salon des Indépendants’, La Gerbe, March 1920, pp. 172–3. Clotilde Misme, ‘Les Salons du Grand Palais’, La Chronique des arts, 15 February 1920, pp. 18–19.
26. Thérèse Diamand Rosinsky, Suzanne Valadon (New York: Universe Publishing, 1994), p. 59.
27. Jeanine Warnod, Suzanne Valadon, trans. by Shirley Jennings (Naefels, Switzerland: Bonfini Press, 1981), p. 91.
28. Weill, p. 144.
29. Letter transcribed as part of the Espace Valadon in Bessines, dated by the Association Utrillo 3 May 1920.
30. Fabris, p. 55.
31. Fabris, p. 55.
32. Maurice first wrote to Robert Pauwels on 6 December 1920. See Fabris, p. 57.
33. Lucie spoke candidly to Maurice’s biographer Robert Coughlan. See Coughlan, p. 101.
34. Fabris, p. 57.
35. On Berthe Weill’s impressions, see Weill, pp. 141–2.
36. Coughlan, p. 103.
37. On Lucie’s impressions of their friendship, see Coughlan, p. 103.
38. Suzanne to Lucie Pauwels, 21 February 1921, letter reproduced in Fabris, p. 57.
39. On this chain of events, see Fabris, pp. 55–6.
40. Letter reproduced in Valadon Utrillo: Au tournant du siècle à Montmartre – de l’Impressionisme à l’École de Paris, exhib. cat. (Paris: Pinacothèque de Paris, 2009), Annexes, pp. 450–1.
41. Fabris, p. 55.
42. Jeanine Warnod confirms that the picture shows Utter’s mother and sister. He had no brothers, so it is assumed that the male figure is his father. See Warnod, p. 73.
43. Le Gaulois, 1 November 1921, p. 1.
44. Adolphe Tabarant, L’Oeuvre, December 1921, cited in Robert Rey, Suzanne Valadon (Paris: Gallimard, 1922), pp. 14–15.
45. André Warnod, L’Avenir, 19 December 1921, cited in Rey, p. 15.
46. Robert Rey, L’Opinion, 25 December 1921, cited in Rey, p. 15.
47. ‘Tableaux de chevalet, ou peinture décorative?’, Bulletin de la vie artistique, 15 February 1922, p. 78.
48. On Léon Zamaron, see Valadon Utrillo: Au tournant du siècle à Montmartre – de l’Impressionisme à l’École de Paris, exhib. cat. (Paris: Pinacothèque de Paris, 2009), p. 323.
49. Ilyin, p. 5.
50. Fabris, p. 56.
51. Jeanine Warnod remembers that Suzanne came on the day she was born in December 1921 to give the new parents a gift in the form of a painting by Maurice of a church. I am grateful to Jeanine Warnod for this valuable information.
52. On Utter’s temper, see Paul Pétridès, Ma Chance et ma réussite (Paris: Plon, 1978), pp. 71–2.
53. I am grateful to the Office de tourisme in Cancale for assisting me in locating Suzanne’s holiday destination. Fabris, p. 58.
54. Weill, p. 148.
55. See the letter from Maurice Utrillo to Robert Le Masle detailing this. Reproduced in Fabris, p. 59.
56. An intimate letter from Suzanne to Nora is reproduced in Valadon Utrillo: Au tournant du siècle à Montmartre – de l’Impressionisme à l’École de Paris, exhib. cat. (Paris: Pinacothèque de Paris, 2009), p. 319.
57. This area is now known as the Pyrénées-Atlantiques.
58. On the trip, see Storm, pp. 215–17.
59. An evocative picture of the house can be found in Suzanne’s painting Le Château de Ségalas (1923), reproduced in Valadon, Utrillo & Utter à l’atelier de la rue Cortot: 1912–1926, exhib. cat. (Paris: Musée de Montmartre, 2015), p. 71.
60. Storm, pp. 215–17.
61. This is the date given to the château in Valadon Utrillo: Au tournant du siècle à Montmartre – de l’Impressionisme à l’École de Paris, exhib. cat. (Paris: Pinacothèque de Paris, 2009), p. 281.
62. On the château, see Fabris, pp. 61, 67.
63. Fabris, pp. 61, 67.
64. L’Intransigeant, 31 October 1923, p. 2. Comoedia, 30 October 1923, p. 4.
65. Fabris, p. 60.
66. For an account of Suzanne’s spending, see Storm, pp. 226–7.
67. Suzanne, Maurice and Lucie used different spellings of the dogs’ names. I have adopted the form used by Suzanne in her 1927 portrait of the animals.
68. Jeanine Warnod remembers this vividly. See Jeanine Warnod, L’École de Paris (Paris: Arcadia Éditions, 2004), p. 32.
69. Fabris, p. 66.
70. Comoedia, 1 June 1924, p. 4.
71. L’Intransigeant, 2 June 1924, p. 2.
72. It has often been said that this banquet was thrown to celebrate Suzanne and Maurice being offered a joint contract in 1924 with Bernheim-Jeune. However, Bernheim-Jeune holds no record of such a contract ever having existed. The archives show only a contract made with Maurice Utrillo in 1927, and there is no record of a contract ever having been made with Suzanne Valadon. I am grateful to Guy-Patrice Dauverville at Bernheim-Jeune & Cie for his scrupulous investigation into the gallery’s archives.
73. On banquets, see Susan Cope and others, eds, Larousse Gastronomique (London: Mandarin, 1990), pp. 73–4. On Rousseau’s banquet, see Jonathan Jones, ‘When Henri met Pablo’, The Guardian, 29 October 2005 https://www.theguardian.com/artanddesign/2005/oct/29/art [accessed 9 February 2017].
74. André Utter, Entre Peintres, MNAM, cited in Thérèse Diamand Rosinsky, ‘Les multiples identités de Suzanne Valadon: Marie-Clémentine, “Biqui”, ou “Terrible Maria”?’ in Suzanne Valadon – 1865–1938, exhib. cat. (Martigny, Switzerland: Fondation Pierre Gianadda, 1996), pp. 31–53 (p. 51).
75. Cited in Cope, p. 74.
76. On this work, see Thérèse Diamand Rosinsky, Suzanne Valadon (New York: Universe Publishing, 1994), pp. 72–74.
CHAPTER 15
1. Bérangère Guilbaud-Rabiller, Le Grand Almanach du Limousin 2016 (La Crèche: Geste éditions, 2015), semaine 25.
2. On the episode, see Jean Fabris, Utrillo, sa vie, son oeuvre (Paris: Éditions Frédéric Birr, 1982), p. 62. John Storm, The Valadon Drama: The Life of Suzanne Valadon (New York: E.P. Dutton & Co., Inc., 1959), p. 229. June Rose, Mistress of Montmartre: A Life of Suzanne Valadon (London: Richard Cohen Books, 1998), p. 199.
3. The account of Mme Annette Jacquinot regarding life at Saint-Bernard is particularly illuminating. See Fabris, pp. 67–75.
4. On Édouard Herriot, see: Encyclopédie Larousse en ligne – Édouard Herriot http://www.larousse.fr/encyclopedie/personnage/%C3%89douard_Herriot/123780 [accessed 20 February 2017]. Encyclopaedia Britannica – Édouard Herriot https://www.britannica.com/biography/Edouard-Herriot [accessed 21 February 2017].
5. ‘Suzanne Valadon’, Beaux-Arts, 15 April 1938, p. 3.
6. Stéphane Manier, ‘Quelques minutes avant de partir pour Londres M. Édouard Herriot nous a parlé du peintre Suzanne Valadon’, Paris-Soir, 14 October 1932, p. 3.
7. See Mme Annette Jacquinot’s account. See Fabris, pp. 67–75.
8. On the Boeuf sur le Toit, see: http://www.boeufsurletoit.com [accessed 23 February 2017].
9. On Paris in the 1920s, see: Alistair Horne, Seven Ages of Paris (London: Pan Macmillan, 2003), pp. 379–85. Colin Jones, Cambridge Illustrated History of France (Cambridge: Cambridge University Press, 1994), pp. 253–9.
10. Jean Émile-Bayard, Montmartre Past and Present, trans. by Ralph Anningso
n and Tudor Davies (London: T. Fisher Unwin Ltd, 1926), p. 122.
11. Émile-Bayard, pp. 125–6.
12. Heuzé recounted this episode to Paul Pétridès. See Paul Pétridès, Ma Chance et ma réussite (Paris: Plon, 1978), pp. 125–6.
13. This letter is reproduced in Fabris, p. 59.
14. Robert Coughlan, The Wine of Genius: A Life of Maurice Utrillo (London: Gollancz, 1952), p. 88.
15. The letter detailing this offer (dated 16 February 1925) is reproduced in Fabris, p. 64.
16. This exhibition ran between May and July 1925.
17. On the Exposition internationale des Arts décoratifs et industriels modernes, see: Luke Fiederer, ‘AD Classics: Exposition Internationale des Arts Décoratifs et Industriels Modernes’, Arch Daily http://www.archdaily.com/793367/ad-classics-exposition-internationale-des-arts-decoratifs-et-industriels-modernes [accessed 24 February 2017]. ‘Art Deco: The 1925 Paris Exhibition – Victoria and Albert Museum’ http://www.vam.ac.uk/content/articles/a/the-1925-paris-exhibition/ [accessed 24 February 2017].
18. Gustave Kahn, ‘Art’, Mercure de France, 15 July 1925, pp. 494–8.
19. Berthe Weill, Pan! … dans l’Oeil (Paris: L’Échelle de Jacob, 2009), pp. 160–1.
20. On Marie Laurencin, see J.P. Crespelle, Montmartre Vivant (Paris: Hachette, 1964), pp. 147–8.
21. Weill, p. 161.
22. Weill, p. 161.
23. See Le Bulletin de la vie artistique, 15 June 1925, pp. 265–6.
24. This poem is reproduced in Fabris, p. 61.
25. Fabris, p. 72. Valadon Utrillo: Au tournant du siècle à Montmartre – de l’Impressionism à l’École de Paris, exhib. cat. (Paris: Pinacothèque de Paris, 2009), pp. 319–21.
26. Mary E. Davis, Erik Satie (London: Reaktion Books Ltd, 2007), p. 58.
27. See Fabris, p. 71.
28. André Utter to Suzanne Valadon, 15 September 1925, MNAM. Letter reprinted in Thérèse Diamand Rosinsky, ‘Les multiples identités de Suzanne Valadon: Marie-Clémentine, “Biqui”, ou “Terrible Maria”?’ in Suzanne Valadon – 1865–1938, exhib. cat. (Martigny, Switzerland: Fondation Pierre Gianadda, 1996), pp. 31–53 (p. 49).
29. This letter is reproduced in Fabris, p. 65.
CHAPTER 16
1. Georges-Emmanuel Clancier, La Vie quotidienne en Limousin au XIXe siècle (Paris: Hachette, 1976), p. 145.