04 de maio de 2012 - 23 de setembro de 2012
The Jewish Museum
New York
Self-Portrait with Waroquy, 1889
Oil on canvas
36 1/2 x 28 1/2 in. (92.7 x 72.4 cm)
The Metropolitan Museum of Art, New York, Gift of Alex M. Lewyt, 1955, 55.173
"Algumas das pinturas mais sedutoras do fin-de-siècle Paris"
- The New York Times
The Drawer, c. 1892
Oil on canvas
18 7/8 x 14 1/4 in. (48 x 36 cm)
V. Madrigal Collection, New York
"Some of the most beguiling paintings of fin-de-siècle Paris"
– The New York Times
Madame Vuillard at Table, 1896–97
Oil on cardboard
18 x 19 in. (45.7 x 48.7 cm)
Private collection, New York
Esta exposição oferece uma nova visão da carreira do artista francês Edouard Vuillard, da vanguarda da década de 1890 à domesticidade urbana dos retratos posteriores menos conhecidos. A apresentação centra-se na inspiração fornecida por amigos e patronos, cujo apoio tornou-se inseparável para a realização do artista.
The Wordless Life, by Maurice Beaubourg, 1894
Lithograph
12 15/16 x 9 13/16 in. (32.8 x 25 cm)
The National Gallery of Art, Washington, D.C., Rosenwald Collection, 1950
This exhibition offers a fresh view of the French artist Edouard Vuillard’s career, from the vanguard 1890s to the urbane domesticity of the lesser-known late portraits. The presentation focuses on the inspiration provided by friends and patrons whose support became inseparable from the artist's achievement.
Thadée and Misia Natanson in their apartment, Rue Saint-Florentin, Paris, 1897–99
Gelatin silver print
3 3/8 x 3 1/2 in. (8.6 x 8.9 cm)
Private collection
Com cerca de cinquenta obras de arte importantes em várias mídias, a exposição se estende por projetos passados pioneiros do Jewish Museum, de Nova York, sobre a importância dos colecionadores e mecenas para o desenvolvimento da arte moderna.
Thadée Natanson at His Desk, c. 1899
Oil on cardboard, mounted on panel
18 1/2 x 22 1/4 in. (47 x 56.5 cm)
Collection of Helen Frankenthaler
Featuring some fifty key artworks in various media, the exhibition extends pioneering past projects of The Jewish Museum, New York, on the significance of collectors and patrons for the development of modern art.
La Grangette at Valvins, 1896
Oil on cardboard, mounted on panel
7 1/2 x 16 in. (19 x 41 cm)
Galerie Berès, Paris
Edouard Vuillard: um pintor e suas musas, 1890-1940 considera seis aspectos da criação do artista:
Misia, 1897–99
Oil on cardboard
13 x 15 in. (33.5 x 39.5 cm)
Neffe-Degandt Ltd., London
Edouard Vuillard: A Painter and His Muses, 1890-1940 considers six aspects of the artist's creation:
The Reader (Romain Coolus), 1897–99
Oil on cardboard
13 3/8 x 10 5/8 in. (34 x 27 cm)
V. Madrigal Collection, New York
Início Artístico de Vuillard: Filho, Artista, o Profeta
Quando jovem na década de 1890, Vuillard foi um membro de um grupo parisiense de artistas de vanguarda conhecido como o Nabis ("profetas" em hebraico e árabe). Levando sua inspiração a partir do pós-impressionista Paul Gauguin, o grupo usou de forma simplificada as cores puras para criar imagens decorativas, carregadas de emoção. Durante seu período de Nabi, Vuillard produziu algumas de suas mais conhecidas obras de arte: pinturas de amigos e familiares em interiores quentes cheios de papéis de parede estampados, cortinas, tapetes e roupas. O envolvimento Vuillard com teatro experimental moderno o colocou em contato com grandes figuras da vida cultural parisiense e despertou seu interesse pela pintura mural..
Misia and Vallotton at Villeneuve, 1899
Oil on cardboard
28 3/8 x 20 7/8 in. (72 x 53 cm)
Collection of William Kelly Simpson
Vuillard's Artistic Beginnings: Son, Artist, Prophet
As a young man in the 1890s, Vuillard was a member of a Parisian group of avant-garde artists known as the Nabis ("prophets" in Hebrew and Arabic). Taking their inspiration from the Post-Impressionist Paul Gauguin, the group used simplified form and pure colors to create decorative, emotionally charged pictures. During his Nabi period, Vuillard produced some of his best-known artworks: paintings of friends and family in warm interiors filled with patterned wallpapers, draperies, carpets, and clothing. Vuillard's close involvement with modern experimental theater brought him into contact with major figures of Parisian cultural life and sparked his interest in painting mural-size scenes.
Lucy Hessel at the Seashore, c. 1904
Oil on hardboard
8 1/2 x 8 1/2 in. (21.6 x 21.6 cm)
Hammer Museum, Los Angeles, the Armand Hammer Collection, Gift of the Armand Hammer Foundation
A Musa e o comentário
Vuillard foi atraído pela importante a revista cultural publicada pela família Natanson, La Revue Blanche. A conexão do artista com Thadée Natanson levou Vuillard ao sucesso durante a década de 1890. De uma família de banqueiros, Thadée e sua mulher talentosa, Misia, foram os principais motores que reuniram a nata dos intelectuais parisienses, artistas de vanguarda, escritores, empresários teatrais, políticos e filósofos do período. A arte gráfica de Vuillards apareceu na revista, juntamente com a de outros artistas-Pierre Bonnard, Henri de Toulouse-Lautrec, Félix Vallotton, e outros.
Messieurs and Mesdames Josse and Gaston Bernheim-Jeune, Avenue Henri-Martin, 1905
Oil on cardboard, on panel
22 1/2 x 28 1/4 in. (57 x 72.5 cm)
Collection of Guy-Patrice Dauberville, courtesy of Galerie Bernheim-Jeune, Paris
The Muse and the Review
Vuillard was drawn to the important cultural review published by the Natanson family, La Revue Blanche. The artist's connection with Thadée Natanson vaulted Vuillard to success during the 1890s. From a family of bankers, Thadée and his gifted wife, Misia, were the prime movers who brought together the cream of Parisian intellectuals—avant-garde artists, writers, theatrical impresarios, politicians, and philosophers of the period. Vuillardʹs graphics appeared in the journal, together with those of his fellow artists—Pierre Bonnard, Henri de Toulouse-Lautrec, Félix Vallotton, and others.
The Salon, c. 1905
Oil on cardboard, laid on canvas
24 1/4 x 26 3/8 in. (61.5 x 68.1 cm)
The Henry Moore Foundation, Perry Green, England, acquired 1984
Novos Patronos
Nos primeiros anos do século XX, Vuillard começou a expor na galeria de prestígio Bernheim-Jeune. Bernheim-Jeune foi o centro do movimento moderno na pintura e representava artistas tão importantes como Bonnard, Matisse, Renoir e. A arte de Vuillard continuou a se concentrar em interiores com figuras, nas quais os seus amigos artistas e círculo de patronos estão representados dentro de seu ambiente doméstico. Ele dizia: "Eu não faço retratos. Eu pinto pessoas em seus arredores."
Claude Bernheim de Villers, 1905–6
Oil on paper, mounted on plywood
26 3/4 x 37 3/4 in. (68 x 96 cm)
Musée d'Orsay, Paris, Gift of Mr. Gaston Bernheim de Villers, father of the model, 1951
New Patrons
In the early years of the twentieth century, Vuillard began to exhibit at the prestigious Bernheim-Jeune gallery. Bernheim-Jeune was a center of the modern movement in painting and represented such leading artists as Bonnard, Matisse, and Renoir. Vuillard's art continued to focus on interiors with figures, in which his artistic friends and circle of patrons are set within their domestic environment. He famously remarked, "I don’t do portraits. I paint people in their surroundings.”
Twilight at Le Pouliguen, 1908
Glue-based distemper on paper, mounted on canvas
30 3/4 x 58 3/8 in. (78 x 148 cm)
Neffe-Degandt Ltd., London
Lucy Hessel Reading, 1913
Oil on canvas
39 3/8 x 32 5/8 in. (100.2 x 82.9 cm)
The Jewish Museum, New York, Purchase: Lore Ross Bequest, 2010-23
The portentous friendship with Jos Hessel, senior partner of Bernheim-Jeune, and his wife, Lucy, became of central importance for Vuillardʹs creative life. Supporter, confidante, and lover, Lucy Hessel became the artist's most frequent model—appearing in many of the artistʹs paintings, works on paper, and photographs over a period of forty years.
Woman in a Striped Dress, from The Album, 1895
Oil on canvas
25 7/8 x 23 in. (65.7 x 58.7 cm)
The National Gallery of Art, Washington, D.C., Collection of Mr. and Mrs. Paul Mellon, 1983.1.38
Murais decorativos
Além de se tornar o retratista comentado de Paris entre guerras, Vuillard continuou a explorar em larga escala cenas e grupos de cenas de paisagens e arquiteturas da cidade, bem como interiores. Sua arte se desenvolveu em resposta às comissões de clientes influentes. Nos grandes projetos de decoração, o artista elaborou sobre os temas de Paris e de vida no campo: exemplos na exposição incluem The Album (1895, encomendado pelo Thadée Natanson), Place Vintimille (1908), e Le Grand Teddy (1918), uma pintura raramente vista encomendada para um café de Paris.
Place Vintimille, 1908–10
Distemper on cardboard, mounted on canvas
78 3/4 x 27 3/8 in. (200 x 69.5 cm); 78 3/4 x 27 1/2 in. (200 x 69.9 cm)
Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser, 1978, 78.2514.74
Decorative Murals
In addition to becoming the bespoke portraitist of interwar Paris, Vuillard continued to explore large-scale scenes and groups of scenes—landscapes and cityscapes as well as interiors. His art developed in response to commissions from influential clients. In the big decorative projects, the artist elaborated on the themes of Paris and country life: examples in the exhibition include The Album (1895, commissioned by Thadée Natanson), Place Vintimille (1908), and Le Grand Teddy (1918), a rarely seen painting commissioned for a Paris café.
Madame Marcel Kapferer at Home, 1916
Glue-based distemper on paper, mounted on canvas
69 1/8 x 42 1/2 in. (172 x 105 cm)
Private collection
Retratos posteriores
Nas últimas décadas de sua carreira, o meio dos Hessels forneceu a inspiração e as comissões para retratos. Representações de Vuillard da sociedade francesa nos anos vinte e trinta anos mostram uma fascinação contínua com padrão e decoração e uma exploração cada vez mais sofisticada da vida interior do retratado. Vuillard nestes anos mostrou-se um dos mestres do retrato moderno.
Marcel Kapferer, 1926–27
Oil on canvas
46 x 35 1/8 in. (116 x 88 cm)
Private collection
Later Portraits
In the latter decades of his career, the milieu of the Hessels provided inspiration and commissions for portraits. Vuillard's depictions of French society in the twenties and thirties show a continuing fascination with pattern and decoration and an ever more sophisticated exploration of the interior life of the sitter. Vuillard in these years showed himself to be one of the masters of the modern portrait.
Madame Louis Kapferer, 1918–19
Glue-based distemper on canvas
51 1/8 x 38 1/8 in. (129.9 x 96.8 cm)
Private collection
O Chateau des Clayes
Durante a década de 1930, Vuillard gastou muito de seu tempo no Château des Clayes, a casa de campo da família Hessel fora de Paris, perto de Versalhes. A propriedade Hessel ofereceu o cenário para novos rumos artísticos: palácios de interiores, paisagens magníficas em estilo tardio do mestre.
Marcelle Aron (Madame Tristan Bernard), 1914
Glue-based distemper on canvas
71 3/8 x 61 5/8 in. (181.3 x 156.5 cm)
The Museum of Fine Arts, Houston, Gift of Alice C. Simkins in memory of Alice N. Hanszen, 95.222
The Chateau des Clayes
During the 1930s, Vuillard spent much of his time at the Château des Clayes, the country house of the Hessel family outside Paris, near Versailles. The Hessel estate offered the setting for new artistic departures—palatial interiors, magnificent landscapes—in the master's late style.
David David-Weill, 1925
Oil on canvas
35 7/8 x 32 1/4 in. (92 x 82.5 cm)
Private collection
Sam Salz, 1939
Pastel on paper
20 x 13 3/8 in. (51 x 34 cm)
Collection of Janet T. Salz
In the Park at the Chateau des Clayes, c. 1933–38
Distemper on paper, mounted on canvas
61 x 55 1/8 in. (155 x 135 cm)
Neffe-Degandt Ltd., London
Luncheon at Les Clayes, 1935–38
Glue-based distemper and charcoal on paper, laid on canvas
68 1/8 x 53 in. (173.4 x 134.6 cm)
Private collection, courtesy of Richard L. Feigen and Company
Garden in Winter with Peacock, c. 1939–40
Glue-based distemper and gouache on canvas
81 1/2 x 57 1/2 in. (207 x 146 cm)
Musée d'Orsay, Paris, bequest of Edouard Vuillard, presented by Mr. and Mrs. K.-X. Roussel, brother-in-law and sister of the artist, in accordance with the artist's wishes, 1941
The Jewish Museum
1109 5th Ave at 92nd St
New York NY 10128
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