The spirit of montmartre and modern art 1875 1910 & guide to the musée de montmartre (extrait) by Somogy éditions d'Art

Foreword Kléber Rossillon, President of the Musée de Montmartre

The Collections of the Société Le Vieux Montmartre

Jean-Manuel Gabert, Président

Montmartre on the Move: from House to Museum Sandrine Nicollier

The Artists in-residence at 12-14 rue Cortot Saskia Ooms

The Spirit of Montmartre and Modern Art 1875–1910 Phillip Dennis Cate 23 Catalogue

Work carried out under the editorial and technical direction of Somogy Art Publishers Graphic design: Marie Donzelli Technical production: Michel Brousset, Béatrice Bourgerie and Mélanie Le Gros Translation : XXXXXXXX Copy editor: XXXXXXXX Editorial coordination: Ambre Rouvière

List of works

101

Biographies

115

REMERCIEMENTS

Kléber Rossillon extends his warm thanks to all those who have made this exhibition possible and especially the following persons: Mme Anne Hidalgo, Maire de Paris M. Éric Lejoindre, Maire du XVIIIe arrondissement M. Bruno Julliard, Premier adjoint au Maire, chargé de la culture Mme Carine Rolland, Première adjointe au Maire du XVIIIe chargée des affaires générales, de la culture et du patrimoine Mme Valérie Guillaume, Directrice du musée Carnavalet, Paris Mme Christiane Dole, Régisseur des œuvres du musée Carnavalet, Paris Mme Sylvie Müller, Chef du service des musées, DRAC-Ile de France Mme Pauline Lucet, Conservateur du patrimoine, conseiller Musées, Drac Ile de France Mme Laurence Isnard, Conservateur du patrimoine, conseiller musées, DRAC Ile-de-France Mme Véronique Bourbiaux, service des musées, DRAC-Ile de France M. Christophe Leribault, Directeur Petit Palais, musée des beauxarts de la Ville de Paris, Paris Mme Isabelle Collet, Conservateur en chef des peintures, Petit Palais, musée des beaux-arts de la Ville de Paris, Paris M. Hubert Cavaniol, Responsable du service du prêt des collections, Petit Palais, musée des beaux-arts de la Ville de Paris, Paris Mme Claire Boisserolles, Responsable du service des ressources humaines, Petit Palais, musée des beaux-arts de la Ville de Paris, Paris M. Thierry Devynck, Conservateur des Affiches, de la Bibliothèque Fornay, Paris Mme Laura Minici Zotti, Directrice Museo del Precinema, Padoue, Italie M. Francesco Modolo, Museo del Precinema, Padoue, Italie M. le Prof. Ghez, Directeur Petit Palais de Genève, Mme Marjorie Klein, Conservatrice, Petit Palais de Genève Mme Danielle Hodel, Conservation, Petit Palais de Genève M. Thierry Rosset, Musée du Petit Palais de Genève Mme Monika Mascus, Museum Langmatt, Stiftung Langmatt Sidney und Jenny Brown, Baden M. Mikkel Larsen, Ny Carlsberg Glyptotek, Copenhague, Danemark M. Jean Fabris, Détenteur du droit moral de Maurice Utrillo et de Suzanne Valadon M. Jacques Sargos Madame Jacqueline Michel et M. David Weisman M. Mark Hammerschlag et Mme Lynne Hammerschlag M. et Mme Sophie Antonetti-Vader M. Jean-Michel Bück

M. Michel Dixmier M. Alain Chomet Mme Béatrice Himbrechts Mme Clotilde Cooper Mme Cathérine Jourde M. Stéphane Pons M. Michiel Elsevier Stockmans M . Frédéric Beauclair M. Hubert Le Gall Mme Laurie Cousseau La Bibliothèque Nationale de France La Galerie Thierry Mercier, Paris RMN, Paris La Parisienne de photographie M. Paul Dini, Musée Paul Dini, musée municipal,Villefranche-surSaône Mme Véronique Mamelli, RMN, Paris M. Jean-Manuel Gabert, President, Société d’Histoire et d’Archéologie « Le Vieux Montmartre » Mme Isabelle Ducatez, Société d’Histoire et d’Archéologie « Le Vieux Montmartre » M. Alain Larcher,Vice-président, Société d’Histoire et d’Archéologie « Le Vieux Montmartre » Mme Michèle Trante M. Daniel Rolland Mme Annie Belle Mme Chantal Bodere Mme Béatrice Cahors M. Claude Bena M. Gilbert Fleury Mme Patricia Nebenzahl Mme Isabelle Pépin AXA ART DRAC-Ile de France LP ART Banque Neuflize OBC, mécène des travaux de restauration de l’atelier de Suzanne Valadon And those who preferred to remain anonymous.

EXHIBITION AND GUIDE OF THE COLLECTIONS Le Musée de Montmartre Société Kléber Rossillon President and Project Owner Kléber Rossillon Le Musée de Montmartre Société Saint-Jean et Saint-Vincent Director Suzanne Rossillon Curator of exhibitions Phillip Dennis Cate Curator of collections Saskia Ooms Curatorial Assistant to the exhibition Sandrine Nicollier Director of the Museum Renovations Catherine Bonamy Exhibition Design Frédéric Beauclair Scénographe Reconstitution de l’atelierappartement Suzanne Valadon Hubert Le Gall Laurie Cousseau

Société d’Histoire et d’Archéologie des IXe et XVIIIe arrondissements de Paris « Le Vieux Montmartre » Chair Jean-Manuel Gabert Deputy Chairs Alain Larcher Michèle Trante Treasurer Odette Borzic-Hatchadourian Deputy Treasurer Xavier Thoumieux Deputy Secretary Béatrice Cahors Honorary Chairs Daniel Rolland Jean-Marc Tarrit Board of Directors Annie Belle Laurent Bihl Chantal Bodère Odette Borzic-Hatchadourian Jean-Michel Bück Béatrice Cahors Gilbert Fleury Jean-Manuel Gabert Jean-Claude Gouvernon Alain Larcher Raphaële Martin-Pigalle Yves Mathieu Marie-France Moniot-Boutry Daniel Rolland Éliane Sermondadaz Jean-Marc Tarrit Xavier Thoumieux Michèle Trante

THE COLLECTIONS OF THE SOCIÉTÉ LE VIEUX MONTMARTRE JEAN-MANUEL GABERT

ranging history that embraces the arts, religion, politics, festivities and folklore. These collections, amassed with the purpose of exhibition, are supplemented by more than 100,000 archived documents that relate above all to the history, artists and life of Montmartre, its dance halls and cabarets. They include, in particular, a specific and outstanding collection devoted to French songs, consisting of a library of 3000 books and abundant documentation. Since 1960, the association’s collections have been exhibited at the Musée de Montmartre and have benefited from the classification “musée de France” since 2003. They have been placed at the disposal of the Société de Saint-Jean Saint-Vincent responsible for the running and use of the place.

n 1886 a small group of enthusiastic historians, journalists and artists joined together to found the Société d’histoire et d’archéologie “Le Vieux Montmartre” with the purpose of protecting and perpetuating the wealth of culture, history and charm that pertains to this famous hill in Paris. The twin purposes of the association, which are still present in its statutes, were to investigate and preserve all expressions of an artistic, historic or ethnological nature linked with Montmartre, while contributing to the protection and preservation of this remarkable district that was incorporated into the capital in 1860. Since its creation, the society has built up a collection of more than 6000 objects through gifts, bequests, purchases, and deposits from private individuals and public institutions. The collection comprises paintings, sculptures, posters, drawings, lithographs, photographs, objects and furniture. The Vieux Montmartre collections, which are in continual expansion, thus recount a long and wide-

These very diverse collections are divided into a number of categories: – A large number of original posters by the greatest designers of the genre (Jules Chéret, Henri de Toulouse-Lautrec (fig 25), Théophile-Alexandre Steinlen, Francisque Poulbot, etc.) that evoke the warmth and life of popular dance halls and artistic cabarets (Le Moulin de la Galette, L’ÉlyséeMontmartre, Le Chat-Noir, Le Moulin-Rouge, Le Divan-Japonais, Le Mirliton, Le Lapin-Agile, among others) but also social conflicts and local festivities. – Canvases, oil paintings, watercolors, drawings, lithographs, and engravings by the artists of Montmartre: these varied works unite the names of the most famous (Maurice Utrillo, Kupka (fig. 18), Suzanne Valadon, Willette, Poulbot, Galanis, Leprin, etc.) with those of lesser known painters and illustrators who depicted the spirit of their time with talent (Eugène Delâtre, Edouard Lefèvre, André Warnod (fig. 36), André Utter, André Prévost, De Belay, etc.). Consequently, Place Pigalle, a superb canvas from Maurice Utrillo’s white period, and Kupka’s Le Maquis hang alongside images by popular illustrators like Jules Depaquit, Georges Delaw and Georges Tiret-Bognet, and the original sign of Le Lapin-Agile painted on wood by André Gill and placed on deposit by Yves Mathieu, the current owner of the cabaret.

Henri de Toulouse-Lautrec (1864–1901) Moulin-Rouge, La Goulue, 1891 (Cat. 25)

The whirling danse macabre of Adolphe Léon Willette’s large night-time fresco Parce Domine [fig. 15 (17)], commissioned for the opening of the cabaret Le Chat-Noir and placed on deposit by the musée Carnavalet, seems a nocturnal echo of Jules Grun’s L’Abel Fanfare [fig. 38 (1)], with its brightly lit, bucolic and Dionysian scene. – Photographs of the nineteenth and twentieth centuries that illustrate Montmartre’s historic events (the Commune [fig. 1 (13)], the construction of the SacréCœur [fig. 13 (12)]) and other aspects of the district and its famous and anonymous inhabitants. In particular, the

František Kupka (1871–1957) The Maquis, 1897 (Cat. 18)

photographic collections include those of Henri Daudet, Louis-Émile Durandelle, Louis-Charles Frémont, and Maurice Chabas. All these photographers used their skills for the conservation, recording and inventorying of the streets and buildings of Montmartre. – An exceptional collection of tableaux used in the shadow theater at Le Chat-Noir, made by the painter Henri Rivière that heralded the advent of the cinematograph [fig. 23 (8)]. These include dramatic, visionary settings, landscapes and figures cut out of zinc plates that together create a dreamlike epic whose aesthetic influenced many artists.

André Warnod (1885–1960) Fête at Pigalle, 1907 (Cat. 36)

Jules Grün (1868–1938) The Abel Fanfare, Allegory, 1894 (Cat. 15)

of the driving forces behind the Espace group. The model was used as a basis for the plan drawn up to develop and protect the district. Due to the efforts of its presidents,Victor Perrot and Paul Yaki, in 1949 the Société du Vieux Montmartre succeeded getting the Butte Montmartre registered on the Inventaire supplémentaire des monuments historiques by the Direction générale des beauxarts. The Butte thus became the first historic district of Paris to be granted a plan for its preservation and restoration, which was drawn up by two urban design architects, Jacques Ogé and Claude Charpentier (future curator of the Musée de Montmartre until 1995). The building at 12 rue Cortot, a very neglected sixteenth-century property, had been bought by the Ville de Paris and earmarked for demolition. In 1956, the préfet de la Seine, Emile Pelletier, approved the Montmartre urbanism plan and asked Charpentier to oversee the restoration of this remnant of the old village. The collections of the Société du Vieux Montmartre were installed in the house and the museum opened on 21 June 1960. Following the involvement of the Société de SaintJean Saint-Vincent, in 2014 a second building, the neighboring hôtel Demarne, was opened for exhibition purposes, and the Utrillo-Valadon studio was recreated, allowing the reorganization and extended display of the collections. This development was a landmark in the history of this delightful and emblematic museum, as unusual as it is endearing. – A collection of porcelain works made by the manufactory in Clignancourt in 1775 by Deruelle (fig. 12). As a result of the patronage of Monsieur, brother of Louis XVI (and the future Louis XVIII), the prestige and renown of Clignancourt porcelain were confirmed. This precious and very rare collection has been bequeathed to the Vieux Montmartre society by its former president,Victor Perrot. – Furniture and numerous objects, busts, sculptures, curios: desks belonging to Gustave

Charpentier, author of the opera Louise, and the writer Roland Dorgelès, lithographic printing presses belonging to Eugène Delâtre and illustrator Francisque Poulbot, tables and chairs from Le ChatNoir, the embroidered standard of the Commune Libre de Montmartre, etc. – A tin bistrot counter and its accessories, which came from a tavern in rue de l’Abreuvoir, which managed to avoid being requisitioned during the last war, and was offered by the son of the owner, Louis Baillot.

Adolphe Léon Willette (1857–1926) Parce Domine, parce populo tuo / Ne in aeternum irascaris nobis (Spare O Lord, Spare Your People / Lest You Be Angry With Us Forever), 1884 (Cat. 15)

– A bell made in 1623, used in the Chapelle des Martyrs restored by Marie de Beauvilliers in the seventeenth century, the last vestige of the ancient Benedictine Montmartre Abbey, and a statue of the decapitated Bishop-Saint Denis, holding his head in his hands, by the artist Fernand Guignier (both placed on deposit in the Church of Saint-Pierre-deMontmartre). – A large model of Montmartre made in 1955 made on a 1:500 scale by artist Georges Folmer, one

A service offered by the Société within the Musée de Montmartre is an archive consultation center open to anyone – students, museum professionals, the public, teachers, journalists, etc. – who are curious about or devotees of Montmartre. The archives comprise 200 black boxes that contain a wide-ranging assortment of documents, many of which original (drawings, sketches, plans, letters, manuscripts, etc.), relating to Montmartre’s

artists, history and sites, and 200 gray boxes (postcards, photographs and documents about the area’s festivities, geography, religious history, schools, etc.). The section relating to French songs is composed of sheet music, original scores by famous composers, and many books on the songs, writers, composers, singers, operas and operettas that mark France’s musical history. In addition to the works and documents mentioned, researchers may consult an extensive range of books dedicated to renowned caricaturists, poster designers and illustrators, as well as original newspapers, such as Le Courrier français, Le Chat-Noir, L’Assiette au beurre, etc.

that would be inconceivable without the constant and increasingly successful efforts made to raise awareness and appreciation of the archives both nationally and internationally. Jean-Manuel Gabert remercie Isabelle Ducatez et Alain Larcher.

The association’s voluntary staff work ceaselessly to improve the conditions of preservation and presentation of the archives, all of which are available for consultation, and to ensure the perpetuation of this important and unique heritage—something

Anonymous Cannon of the Garde Nationale on the Butte Montmartre, 1871 (Cat. 1)

Louis-Emile Durandelle (1839–1917) Construction of the Sacré-Cœur, 1879 (Cat. 13)

Henri Rivière (1864–1951) Decors for the Shadow Theater Play “Ailleurs, La Messe noire”, 1891 (Cat. 23)

Collection of porcelains made at Clignancourt manufactory, created by Pierre Deruelle in 1775, c. 1780 (Cat. 12)

MONTMARTRE ON THE MOVE: FROM HOUSE TO MUSEUM SANDRINE NICOLLIER

contradictory auspices of a centuries-old occupation by religious orders above ground, exploitation of the resources below ground, and the progressive sedimentation of revolutionary ideas. There are several Montmartres. Strategic in time of war, this “mountainous” site and its seedy village provided a pleasant abode for lovers of country homes from as early as the late seventeenth century. The Hôtel du Bel Air in rue Saint-Jean (renamed rue Cortot in 1864) is one of them and reputed to be the oldest on the Butte (constructed c.1660). Today, you just have to cross a few paths to reach the Hôtel Demarne that looks directly onto the street. These middle-class residences united the pleasures of a dominant location and view that extended beyond the Saint-Denis plain with the delights of a large but discreet garden “far” from Paris. The plots of land had been occupied since the seventeenth century. The buildings then were small, charming homes. In 1680 the Demarne house

he Butte Montmartre is 130 meters high. Its Tertiary Period formation is part of the marly limestone plateau of Saint-Ouen and the zones north of Paris. Quarries and the extraction of gypsum date from the Gallo-Roman period. Probably a place of worship dedicated to Mars or Mercury during Antiquity, it became the “Mont des Martyrs” as a result of Christian influence. From the beheading of Saint Denis to the French Revolution, its history was dominated by religious issues—the domain of the Benedictine abbesses, the foundation of the Jesuit Order, among others —but also the establishment of drinking establishments from the end of the eighteenth century!1 The Revolution in 1789 accelerated the sale of land, stimulating a new bout of urbanization and enlargement of the quarries. In 1871 the Commune and the Bloody Week endorsed the spirit of struggle and incitement in Montmartre, an attitude that was to foster the emergence of all the bohemians and avant-garde art movements. Incorporated into the eighteenth arrondissement in 1860, Montmartre had developed under the

Musée de Montmartre Rue Cortot, grande porte ouverte sur le jardin

seems to have belonged to an actor in Molière’s theater troupe, Claude de la Roze, known as Rosimond (1640–86). Comprising, around this time, two separate constructions (today joined) of the house and its annexes, it boasted a fine garden and raised flowerbed. At the end of the flowerbed, a construction gave access to the vines and orchard below. Facing it, an arbor led to a grotto decorated in rocaille style.2 From the late seventeenth to late eighteenth century, the house was owned by a series of owners, all members of the Parisian bourgeoisie.3 Each added to the property’s comforts and built extensions, thus adhering to the development of the architecture of the privately owned townhouse, in vogue during the eighteenth century. Later the Demarne residence was divided into apartments though it conserved its Neoclassical facade overlooking the garden. Inaugurated in fall 2014, its renovation is vital to the functioning of the museum and will allow it to hold temporary exhibitions. As for the Hôtel du Bel Air, it was divided into two distinct properties in 1781: the one facing the street was used by a secondhand clothes dealer, while the one overlooking the garden was used as a grocer’s store. During the nineteenth century, the division of the construction was taken even further with the creation of very modest rented apartments,4 and, after several additional transformations, it was frequently occupied by artists. The Valadon-Utrillo studio attests to the nonconformist and non-bourgeois history of the property. Today, the section of the building that stands in the garden contains the museum’s permanent collections and also houses the offices of the Association Le Vieux Montmartre. André Salmon celebrated the longevity of 12 rue Cortot: “The two old buildings have resisted everything. Formidable attempts to transform fixed stoves into moveable stoves have not succeeded in delivering to the flames the house with the fateful number. Neither the alarming fits of rage nor the worst jubilations of Utrillo in his prime were able to damage the formerly bourgeois property, whose windows open onto the loveliest of the last gardens in Paris.”5

Menaced with demolition, these properties, which were saved and reunited in 1930, exemplify the picturesque nature of the Butte Montmartre—a combination of the fortuitous and the historical. Fortunately, the establishment of the museum in these buildings during the 1960s has preserved this fragile poetry of the two houses, whose enclosures are often prowled by… a black cat. 1. “In 1780, rue des Martyrs in Les Porcherons, out of fifty-eight houses, twenty-five were cabarets! Why so many cabarets outside of Paris? In Montmartre, we are outside of the Paris tax limit, wine is therefore cheaper in Montmartre than in Paris,” in Ludovic Martin, “Montmartre au milieu du xviiie siècle, à travers les inventaires après décès,” master’s thesis, Université de Paris IV-Sorbonne (IRCOM), 1992–93, p. 22. 2. These features no longer exist. 3. Detailed information is given by the following study: “Le Musée de Montmartre, 8-14, rue Cortot (Paris 18e). Audit patrimonial. Rapport final,” under the direction of Michel Borjon, Grahal, Paris, June 2012. I also thank Mme Isabelle Ducatez of the Association Le Vieux Montmartre for her friendly welcome and helpful advice. 4. Henri Bachelin describes the demographic and propertyrelated phenomenon: “[…] construction of the district NotreDame-de-Lorette, which improved links between Paris and Montmartre while also raising rents in Paris, took many Parisians to Montmartre. Among them were many artists and men of letters. […] Where there were no more than 7,000 inhabitants around 1840, there were approximately 50,000 in 1860,” in Henri Bachelin, Collines et Buttes parisiennes, Firmin-Didot et Cie Éditeurs, Paris, 1944, pp. 49-50. 5. André Salmon, Souvenirs sans fin – L’air de la Butte, Les Editions de la Nouvelle France, Paris, 1945, pp. 77-78.

Musée de Montmartre Jardin de Montmartre

THE ARTISTS IN-RESIDENCE AT 12-14 RUE CORTOT AND

A MAGICAL PLACE TO CREATE “PROCLAIM AND DEFEND BEAUTY”

SASKIA OOMS

“I have spared nothing to know and to proclaim and defend Beauty”, Emile Bernard (Lille 1868–Paris 1941) was to write in 1918.1 In the studio of Fernand Cormon (1845–1925) at the Ecole des Beaux-Arts in 1884, Bernard met Louis Anquetin (1861–1932) and Henri de Toulouse-Lautrec (1864–1901), who introduced him to the cafés-concerts of Aristide Bruant (1851–1924) and the bohemian life of Montmartre. A mainstay of the avant-garde in Paris during the 1880s, Bernard was a close friend of Paul Gauguin,Vincent van Gogh, and Odilon Redon. With Gauguin, Bernard developed the principles of synthetism. In 1893 he left to live in Egypt. On his return to France in 1904, he moved away from modernism to endorse a more traditional style and outlook. Two years later, in 1906, he moved into the studio on the second floor in the east wing at 12 rue Cortot, where he appreciated the quality of the light. There he wrote about art and painted many canvases. On his door one could read “Que celui ne qui ne croit pas en Dieu, en Raphaël et en Titien n’entre pas ici” (May those who do not believe in God, Raphael and Titian not enter here). In his studio

he studios at 12-14 rue Cortot were meeting points where numerous artists lived and worked: Pierre-Auguste Renoir, Maximilien Luce (1858–1941), Edmond Heuzé (pseudonym of Amédée Letrouvé, 1883–1967), Démétrius Galanis (1879–1966), Francisque Poulbot (1879–1946), the Fauves Charles Camoin (1879-1965), Emile-Othon Friesz (1879–1949), and Raoul Dufy (1877–1953), Emile Bernard, and “le trio infernal” of Suzanne Valadon, Maurice Utrillo, and André Utter. In 1875–76, the Impressionist painter PierreAuguste Renoir (Limoges 1841–Cagnes-sur-Mer 1919) rented two rooms at 12-14 rue Cortot, in the left wing of the building facing onto the street and the former stables. In 1876 the gardens there inspired him to paint Dance at Le Moulin de la Galette, The Swing (Paris, Musée d’Orsay) and Garden in the Rue Cortot (Pittsburgh, Carnegie Institute Museum of Art). In 1889, Renoir moved into the Château des Brouillards, at 13 rue Girardon in Montmartre, with his wife Aline and their two sons.

Suzanne Valadon (1865-1938) Women and Children at the Edge of the Water, 1904 (Cat. 34)

Anonymous The Studio of Suzanne Valadon and Maurice Utrillo, 12-14 Rue Cortot, c. 1900 (Cat. 4)

each Friday he received colleagues—painters and often poets2—who worked with him on his review La Rénovation esthétique. The self-portrait he painted in 19393 at the age of 71 belongs to the collection of the Musée de Montmartre (fig. 1, cat. 21), as well as four watercolored engravings of Biblical scenes (fig. 2, cat. 22), and the sculpture Young Female Nude with Raised Arms. Suzanne Valadon, born Marie-Clémentine (Bessines-sur-Gartempe 1865–Paris 1938), succeeded Bernard in the studio in 1909 (fig. 3, cat. 25), having previously lived in rue Cortot with her husband, a banker named Paul Mousis, from 1896 to 1905. She returned to rue Cortot with her son Maurice Utrillo (Paris 1883–Dax 1955). André Utter (Paris 1886–Paris 1948), a painter friend of her son, became her lover and joined them in 1911.Valadon and Utter married in 1914 and remained in the studio until 1926, when Utrillo bought a house in avenue Junot. Following her separation from Utter, Suzanne Valadon moved in with her son, leaving Utter alone in the studio in rue Cortot.Valadon was first a model for Renoir, Puvis de Chavannes, Toulouse-Lautrec, and Modigliani. In 1894 Degas introduced her to line engraving and encouraged her to apply for membership to the Société nationale des beauxarts, at which she was the only woman to exhibit.4 The drawing Self-Portrait of 1894 (fig. 4, cat. 26) and the Eighteen Original Plates by Suzanne Valadon, Engraved between 1895 and 1910, dry-point and soft-

Emile Bernard (1868-1941) Biblical Scene, Story of Moses (Cat. 9)

ground etchings on vellum, printed in 1932 by J.G. Daragnès, belong to the collection of the Musée de Montmartre, of which plate 7, Women and Child at the Edge of the Water of 1904 (fig. 5, cat. 29), is close to the spirit of Gauguin.Valadon’s artworks are marked by their realism, formal synthesis, strong contours, and the sculptural monumentality of her nudes. In 1904, on leaving Sainte-Anne’s Hospital where he had been interned for alcoholism, Maurice Utrillo began to paint in a style completely divorced from academism. He painted the beauty of Montmartre, a world devoid of people, as seen in the painting from his white period, The Place Pigalle (c.1910, Paris, Musée de Montmartre) (fig. 6, cat. 31). A friend of Modigliani, André Utter frequented the Lapin Agile cabaret and the Bateau-Lavoir. His formal research displays similarities with that of Modigliani, Cézanne,Valadon, and Utrillo. His Portrait of Edouard Barat (Paris, Musée de Montmartre) shows Joseph-Edouard Barat, the leader of the Sirène brass band in Paris (fig. 7, cat. 33). The paintings StillLife and The House at 12 Rue Cortot in Montmartre (1947) also belong to the collection of the Musée de Montmartre. After Suzanne Valadon left in 1926, Utter remained in the studio in rue Cortot until his death in 1948.5 1. Neil McWilliam, Lorédana Harscöet-Maire, Bogomila WelshOvcharov, Emile Bernard, Les Lettres d’un artiste (1884-1941), Les Presses du réel, Paris, 2012. 2. Jean-Jacques Luthi, Emile Bernard, l’initiateur, Caractères, Paris, 1974, p. 61. 3. The macrophotographic examination of the painting with Sandrine Nicollier revealed that it is signed and dated 39. It thus dates from 1939 and not 1934, as indicated in the catalogue raisonné by J.-J. Luthi, Emile Bernard : catalogue raisonné de l’oeuvre peint, Side, Paris, 1982, pp. 226-27. 4. Marc Restellini, Valadon, Utrillo. Au tournant du siècle à Montmartre – de l’Impressionnisme à l’Ecole de Paris, exhibition catalogue, Pinacothèque de Paris, Paris, 2009, p. 19. 5. Jean Fabris & Alexandra Charvier, Utrillo,Valadon, Utter, 12, rue Cortot : un atelier, trois artistes, exhibition catalogue, Musée UtrilloValadon, Sannois, 2008, pp. 58-60. “Le Musée de Montmartre, 8-14, rue Cortot (Paris 18e). Audit patrimonial. Rapport final,” under the direction of Michel Borjon, Grahal, Paris, June 2012. I extend my thanks to Isabelle Ducatez of the Association Le Vieux Montmartre for her valuable assistance and advice.

Emile Bernard (1868-1941) Self-Portrait, 1939 (Cat. 8)

Suzanne Valadon (1865–1938) Self-Portrait, 1894 (Cat. 31)

André Utter (1886–1948) Portrait of Edouard Barat (Cat. 29)

Maurice Utrillo (1883–1955) Place Pigalle, c. 1910 (Cat. 27)

The Spirit of Montmartre and Modern Art 1875â&#x20AC;&#x201C;1910

In 1884 Rodolphe Salis, the founder of the Chat Noir cabaret made the following audacious statement: “What is Montmartre? – Nothing! What should it be? Everything.” In fact, within a decade, Salis’s prediction that Montmartre would be “Everything” became a reality. In 1880, Montmartre was an impoverished, dangerous and physically marginal part of Paris; soon it attracted numerous young avant-garde artists, such as Henri de Toulouse-Lautrec , Pierre Bonnard, and Henri Gabriel Ibels, performers, such as Aristide Bruant and Yvette Guilbert, (Cat. 72) writers, such as Emile Goudeau, Alphonse Allais, (205) and Alfred Jarry, and composer/musicians, such as Erik Satie,Vincent Hyspa, and Gustave Charpentier, who wished to cheaply live and/or work in bohemian Paris and to escape the bourgeois center of the capital. In addition to the attractions that already existed in Montmartre, such as the Chat Noir cabaret, the Cirque Fernando and the two popular dance halls, L’Elysée Montmartre and Le Moulin de la Galette, over a period of ten years Montmartre acquired the Divan Japonais (1886), the Moulin Rouge (1889), the Casino de Paris (1890), a number of cabarets artistiques, such as the Quat’Z’Arts cabaret (1894), as well as the two important experimental theaters the Théâtre libre (1887) and the Théâtre de l’oeuvre (1893). By the end of the century when the young Picasso arrived in Paris to visit the 1900 World Fair (cat. 55), Montmartre offered more than forty places of entertainment—cabarets, cafes-concerts, dance halls, music halls, theaters, circuses—two and a half times the number recorded in 1880. Montmartre had been transformed within a relatively short time into the literary and artistic center of Paris.Yet, Montmartre’s cultural/entertainment environment was commercialized by its inventors to such a great extent that, ironically, bohemia became a major international tourist site. Montmartre, once a commune of the northern outskirts of Paris, was annexed by the city in 1860 as its eighteenth arrondissement. (216) It is officially defined by the boulevards de Clichy, de Rochechouart, and de la Chapelle to the south; by

Page précédente : Henri de Toulouse-Lautrec (1864–1901) Moulin-Rouge, La Goulue, 1891 (détail) (Cat. 25)

Sacha Guitry (1885–1957) Portrait of Aristide Bruant (1851–1925), c. 1905–10 (Cat. 72)

the boulevard de Ney to the north; by the avenues de St-Ouen and de Clichy to the west, and by the rue d’Aubervilliers to the east. However, as the 1900 Guide de l’étranger à Montmartre stated: Paris has two Montmartres: the official Montmartre, classified for administrative purposes as the eighteenth arrondissement;… the other is an arbitrary Montmartre whose limits may change depending on the vogue for certain establishments, but whose center always remains the Butte. In fact, the Spirit of Montmartre could not be confined by geography. It was in many ways an avantgarde state of mind which may best be explained by the new institutions of entertainment, by the community of artists, writers, and performers, and by the vehicles for promotion that emerged and thrived there during the last two decades of the nineteenth century and the beginning of the twentieth century.

Maxime Dethomas (1867–1929) Poster for the Guide de l’étranger à Montmartre en 1900, 1900 (Cat. 55)

The Spirit of Montmartre The qualities that best define the “Spirit of Montmartre” and, thus, often substantially differentiated the Montmartre artistic community from the rest of Paris include the following: 1. Philosophically and politically Montmartre was radical, essentially anti-establishment, anti-bourgeois. However, at the end of the 1890s Montmartre like the rest of Parisian society was split by the Dreyfus Affair. The illustrations of the pro-Dreyfus Ibels and those of the anti-Dreyfus Caran d’Ache reflected the great chasm of opinion that the Affair had created in French society, in general. 2. Unlike the traditional, government-sanctioned sites for the presentation of academic art, theater and music, Montmartre artists, performers and writers or poets presented their work at cabarets, cafés-concerts, circuses, experimental theaters, on the street (posters and processions) and in books and popular journals. 3. The Montmartre artistic community innovatively adopted anti-academic tools, (cat. 44)

such as humor, visual puns, irony, satire, parody, caricature, and puppets, to critique contemporary life and the human condition, in general (cat. 87). 4. The preferred subject matter of Montmartre artists was the modern life of Montmartre, itself: its streets, cabarets, dance halls, performers, artists, prostitutes, vagabonds; often the depictions are self-referential, that is the individuals depicted are often personalities known within the Montmartre community but not necessarily beyond. However, not all important Montmartre artists followed this rule; the Symbolist works of, for instance, Eugène Carrière (cat. 50) and Charles Guilloux (cat. 68), do not fit the norm of “The Spirit of Montmartre.”Yet the unique vision of these two artists made important contributions to fin-de-siècle art, in general. 5. Members of the Montmartre artistic community proclaimed their independence, their social/ or political commitment, and/or their artistic preferences by manipulating the media of painting, sculpture, printmaking, music, theater, and eventually

Paris. Map of the 18th Arrondissement Fernand Bournon, Paris-Atlas, Librairie Larousse, Paris, undated [c. 1900] (216)

cinema. For visual artists, such as Willette, Steinlen, Léandre, Ibels, Toulouse-Lautrec [photo 170 moyen], Picasso [photo for cat. No. 127, Picasso pas dans la liste des photos], van Dongen, Kupka and Duchamp, the new photo-mechanical printing processes, which had evolved during the last quarter of the century, became essential to the dissemination of their art to a mass audience. 6. In fact, the history of turn-of-the-century Montmartre is intimately connected to the production of ephemeral material, such as posters, book/journal illustrations, and music sheet designs, as well as cabaret revues and performances which were often the

essential end-products of Montmartre artists. It is the above-mentioned qualities and characteristics that permitted the artists of Montmartre to contribute greatly to the development of modern art at the end of the nineteenth century. The Chat Noir cabaret, founded in 1881 by Rodolphe Salis, (cat. 154) along with the group called the Incohérents (founded by Jules Lévy the same year) were the principal forces behind the development of Montmartre as the center of innovative art and literature in Paris at the end of the nineteenth century. The catalogue for the Musée de Montmartre’s 2012 exhibition Autour du Chat

Arthur Sapeck (1853-1891) Mona Lisa Smoking a Pipe, illustration for Le Rire (Cat. 44)

Henri Gustave Jossot (1866–1951) Sales gueules, 1896 (Cat. 87)

Henri de Toulouse-Lautrec (1864-1901) Yvette Guilbert, illustration for Le Rire, no. 7 (Cat. 170)

Pablo Ruiz Picasso (1881–1973) Lures for Men, illustration for Le Froufrou, no. 46, 31 August 1901 (Cat. 170)

Noir, Arts & Plaisir à Montmartre, 1880-1910 serves as a complement to the current publication. The former presents a comprehensive history of the proto-Dada/Surrealist group called the Incohérents, and of the Chat Noir cabaret , its journal, and its important proto-cinema shadow theater. [photo 130, Riviere, petit] The 2012 catalogue also documents the important role played by the Théàtre libre and the Théàtre de l’oeuvre, and especially that of Jarry’s ground-breaking theatrical performances of Ubu Roi in December 1896, which initiated the theater of the absurd.

1870 she was elected President of the Republican Committee of Vigilance for Montmartre. On February 26, 1871 the conservative, republican government at Versailles signed its final peace settlement with Germany. The left wing of the Paris National Guard and the committees of vigilance, however, did not accept France’s capitulation to Germany nor did it recognize the Versailles government’s authority. On March 18 government troops made an unsuccessful attempt to disarm the Parisian insurgents and to capture the National Guard cannons kept atop Montmartre, Belleville, and the Buttes-Chaumont. The women of Paris covered the cannon with their bodies. When their officers ordered the soldiers to fire, the men refused. The same army that would be used to crush Paris two months later decided now that it did not want to be an accomplice of the reaction. They gave up their attempt to seize the cannon from the National Guard. They understood that the people were defending the Republic by defending the arms that the royalists and imperialists would have turned on Paris in agreement with the Prussians[…] On this day, the 18th of March, the people wakened. If they had not, it would have been the triumph of some king; instead it was a triumph of the people. The 18th of March could have belonged to the allies of kings, or to foreigners, or to the people. It was the people’s.1[Cat XX)

Radical Montmartre: The Commune and Louise Michel With the Siege of Paris by the Prussians in the fall of 1870, Louise Michel (1830-1905), the “Red Virgin,” the anti-clerical feminist, soon-to-be-communist and later anarchist worked shoulder to shoulder with her male peers to defend Paris against the invading Prussians. The Parisians organized a central committee of the twenty Paris arrondissements each of which set up its own committees of vigilance to provide food and protection for its citizens. Michel served on both the women’s and men’s vigilant committees of Montmartre, and in November

From that day on to the end of the nineteenth century, at least, the Butte of Montmartre served as the foremost geographical landmark and symbol in France of anti-establishment rebellion. On March 28, the red flag was flown on the town hall and the Paris Commune was declared. Dressed in National Guard uniform Louise Michel was an aggressive leader and fighter against the Versailles government troops during the “bloody week” of May 22–28 in which 25,000 to 30,000 communards—men, women and children—were killed in battle or by summary execution without trial. The Commune was viciously defeated.

Henri Rivière (1864–1951) Album of the shadow theater, La Marche à l’étoile, 1899 (Cat. 130)

Michel was exiled with other Communards to New Caledonia in 1873 and was able to return to Montmartre only in 1880 with the declaration of a general amnesty. Greatly admired by socialist/ anarchist artists, writers and politicians including T.A. Steinlen,Victor Hugo, and Jules Guesde, for the last twenty-five years of her life Michel continued to be a vocal and aggressive challenge to the Third Republic by actively pressing for workers’ rights, better education, and equality of the sexes in all realms of life. Her play Nadine, co-written with Grippa de Winter and dealing with the 1846 revolution in Cracow, was performed in Montmartre at the Bouffes du Nord theater in April 1882. Michel’s Les Memoires (Paris, 1886), Le Claque-Dents (The Whore House, Paris, c.1890) and La Commune (Dentu, 1898) focus on social/political revolution and the failures of the Third Republic to obtain its goals of “liberty, equality and fraternity.” In the violent spring of 1871 Louise Michel and Montmartre both became symbols of revolution in France. A decade later, however, artists, writers and performers living and working on the Butte, appropriated the revolutionary status of Montmartre to serve as a visible symbol on the Parisian landscape of anti-bourgeois artistic rebellion. The weapons of the Communards—rifle, cannon and barricade— were replaced by the pen, crayon and stage. With the opening in November 1881 of the Chat Noir cabaret at 84 boulevard de Rochechouart and the founding of its journal of the same name in January 1882, Montmartre quickly emerged as the epicenter of avant-garde literary and artistic activities in Paris. At the initiation of the Chat Noir’s entrepreneurial owner, Rodolphe Salis, the poet Emile Goudeau, founder in 1878 of the Left Bank group of artists and writers called the Hydropathes, permanently transferred the group’s meetings from a Latin Quarter café to the Chat Noir creating the dynamic model for all future Parisian “cabarets artistiques.”2 On October 1, 1882 the young writer and Hydropathe, Jules Lévy, organized an extraordinary exhibition at his home on the Left Bank of bizarre drawings by artists and non-artists. The exhibition was entitled

“Arts Incohérents,” and its catalogue was published as a two-page supplement to the October 7, 1882 Le Chat noir journal. The Incohérents developed as a loosely knit group of artists and writers— Hydropathes and others mostly associated with the Chat Noir—who for over a decade (1882–93) under the leadership of Jules Lévy held exhibitions and bals and collaborated on publications. [photo 40 (44) moyen] The radical take-nothing-serious aesthetics of the Incohérents is best characterized as proto-Dada because of its experimental, nonsensical, anti-academic, anti-establishment nature. The cabaret community of Incohérents firmly reestablished the Butte of Montmartre as a sanctuary for independent thinking, at least, if not action.

Arts Incoherents Cover illustrated by Adolphe Léon Willette, Le Courrier français: illustré, paraissant tous les samedis, no. 15, 11 April 1886 (Cat. 40)

catalogue

Anonymous The Journal of Le Chat-Noir, Novemberâ&#x20AC;&#x201C;December 1898 (Cat. 3)

Balda The Cabaret Le Chat-Noir, Interieur and Exterieur of the Second Chat-Noir, Rue Victor MassĂŠ, c. 1890 (Cat. 5)

Henri Rivière (1864–1951) Decors for the Shadow Theater Play “Ailleurs, La Fâcheuse androgyne”, 1891 (Cat. 24)

Henri Rivière (1864–1951) Theater at Le Chat-Noir, 1895 (Cat. 25)

Anonymous Dancers from the Moulin-Rouge, La Goulue and the Grille d’Egout (Cat. 2)

Pierre de Belay (1890–1947) Couple in a Café, 1934 (Cat. 6)

Pierre de Belay (1890–1947) French Cancan at Tabarin, 1937 (Cat. 7)

Émile Bernard (1868–1941) Biblical Scene, Scene of a Martyr (Cat. 10)

Émile Bernard (1868–1941) Biblical Scene,Tobias and the Angel (Cat. 11)

André Gill (1840–1885) Lapin-Agile, c. 1875 (Cat. 61)

Henri Gustave Jossot (1866–1951) Monkey, c. 1904 (Cat. 92)

Elizabeth Krouglicoff (1865–1941) Cirque Médrano: the Clowns, 1909 (Cat. 93)

František Kupka (1871–1957) Cover for La Vie en rose, no. 64, 4 January 1903 (Cat. 95)

František Kupka (1871–1957) Reason, c. 1904 (Cat. 98)

Théophile-Alexandre Steinlen (1859–1923) Poster for a “Tournée du Chat-Noir avec Rodolphe Salis”, 1896 (Cat. 162)

Théophile-Alexandre Steinlen (1859–1923) Going Home In the Evening, 1897 (Cat. 164)

Henri de Toulouse-Lautrec (1864â&#x20AC;&#x201C;1901) Divan-Japonais, 1893 (Cat. 168)

Henri de Toulouse-Lautrec (1864â&#x20AC;&#x201C;1901) Bruant at the Mirliton, 1894 (Cat. 169)

LIST OF WORKS

Selection of Artworks from the Permanent Collection of the Musée de Montmartre

Guide to the Musée de Montmartre 1.

ANONYMOUS

National Guard Cannons on the Butte Montmartre, 1871 Silver gelatin print 16 × 30 cm Musée de Montmartre, Le Vieux Montmartre Collection

ANONYMOUS The Journal of Le Chat-Noir, November-December 1898 Stenciled and colored photo relief process 42.5 × 28.7 cm Musée de Montmartre, Le Vieux Montmartre Collection, inv.: A3986

ANONYMOUS

10. Emile BERNARD (1868-1941) Biblical Scene, Scene of a Martyr Watercolored engraving 19 × 13 cm Musée de Montmartre, Le Vieux Montmartre Collection, inv.: A2835.G

BALDA

12. COLLECTION OF PORCELAINS made at

Pierre de BELAY (1890–1947)

Pierre de BELAY (1890–1947) French Cancan at Tabarin, 1937 31 × 38 cm Watercolor on paper Musée de Montmartre, Le Vieux Montmartre Collection, gift of Hélène de Belay, 1977

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Emile BERNARD (1868-1941) Biblical Scene, Story of Moses Watercolored engraving 19 × 13 cm Musée de Montmartre, Le Vieux Montmartre Collection, inv.: A2834.G

11. Emile BERNARD (1868-1941)

Couple in a Café, 1934 Oil on cardboard 60.5 × 50 cm Musée de Montmartre, Le Vieux Montmartre Collection, inv.: A361.P, gift of Hélène de Belay

The Studio of Suzanne Valadon and Maurice Utrillo, 12-14 Rue Cortot, c. 1900 14 × 13 cm Silver gelatin print Musée de Montmartre, Le Vieux Montmartre Collection

The Cabaret Le Chat-Noir, Interieur and Exterieur of the Second Chat-Noir, Rue Victor Massé, c. 1890 Oil on wood 30.5 × 38.55 cm Musée de Montmartre, Le Vieux Montmartre Collection Acquired with the help of the Regional Purchasing Fund of the Musées d’Île-de-France, 2012

Self-Portrait, 1939 Oil on cardboard, signed at top left: Émile Bernard 100 × 74.2 cm Musée de Montmartre, Le Vieux Montmartre Collection, inv.: A/3624.P

ANONYMOUS Dancers from the Moulin-Rouge, La Goulue and the Grille d’Egout Silver gelatin point 16.3 × 10.9 cm Musée de Montmartre, Le Vieux Montmartre Collection

Emile BERNARD (1868–1941)

Biblical Scene,Tobias and the Angel Watercolored engraving 19 × 13 cm Musée de Montmartre, Le Vieux Montmartre Collection, inv.: A2837.G

Clignancourt manufactory, created by Pierre Deruelle in 1775, c. 1780

Musée de Montmartre, Le Vieux Montmartre Collection, gift of Victor Perrot

13. Louis-Emile DURANDELLE (1839–1917) Construction of Sacré-Cœur, 1879 Silver gelatin print 28 × 38 cm Musée de Montmartre, Le Vieux Montmartre Collection, inv. A.93/17.Ph

14. FLIPSEN, pseudonym of Victor Philippe

Philipsen (1841–1907)

Portrait of Paul Delmet, 1890 Oil on wood 40 × 31.5 cm Musée de Montmartre, Le Vieux Montmartre Collection, inv.: A3623.P

Selection of Works from the Archives of the Collection Le Vieux Montmartre 187. Vachalcade, The Cart of Truth, 1897 Photograph 6 × 8.5 cm Musée de Montmartre, Le Vieux Montmartre Collection

188. The Lapin-Agile, c. 1900 Photograph 9.5 × 12 cm Musée de Montmartre, Le Vieux Montmartre Collection

189. The Vachalcade Committee, or Déjeuner sur la Butte

Montmartre, 1898

Photo relief process 13 × 18 cm Musée de Montmartre, Le Vieux Montmartre Collection

190. Interior of the Cabaret des Quat’z’Arts, c. 1900 Photograph 24 × 34.6 cm Musée de Montmartre, Le Vieux Montmartre Collection

191. Vachalcade, Route, 1897 Text printed onto Japanese wood block print 43 × 32.5 cm Musée de Montmartre, Le Vieux Montmartre Collection

192. Charles Lucien LÉANDRE (1862–1934), Alphonse ALLAIS (1854–1905) Portrait of Alphonse Allais Cover for the Quat’z’Arts, 7 April 1898 Photo relief process 31 × 24 cm Musée de Montmartre, Le Vieux Montmartre Collection

193. Jacques VILLON (1875–1963) Program of the Vachalcade, special issue of Le Chat-Noir, 1897 Photo relief process 32.5 × 24.5 cm Musée de Montmartre, Le Vieux Montmartre Collection

194. Louis-Abel TRUCHET (1857–1918) Pour faire chanter, program for the Cabaret des Quat’z’Arts, c. 1895–1900 Lithograph 36 × 24.5 cm Musée de Montmartre, Le Vieux Montmartre Collection

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195. Martin GUÉDAN At the Quat’z’Arts Ball – Le Courrier français : illustré, paraissant tous les samedis, 19 February 1893 Photo relief process 31 × 14 cm Musée de Montmartre, Le Vieux Montmartre Collection

196. Invitation to the Incoherents’ Ball, 27 March

1889

Photo relief process 12.5 × 15.5 cm Musée de Montmartre, Le Vieux Montmartre Collection

197. Letter to Jules LÉVY (1857–1935) from Jules HABERT-DYS (1850–1935), undated Photo relief process and ink 17.5 × 11 cm Musée de Montmartre, Le Vieux Montmartre Collection

198. L. TARDIEU Advertisement for the Quat’z’Arts cabaret, c. 1900 Lithograph 21 × 10 cm Musée de Montmartre, Le Vieux Montmartre Collection

199. Emile COHL (1857–1938) Dinner of the Bon Bock, 1887 Engraving 26.5 × 20.5 cm Musée de Montmartre, Le Vieux Montmartre Collection

200. Adolphe Léon WILLETTE (1857–1926) Venus In Front of the Sun From the Le Pauvre Pierrot album, 1887 Photoengraving 17 × 10 cm Musée de Montmartre, Le Vieux Montmartre Collection

201. Postcard of the Cabaret des Quat’z’Arts,

c. 1895-1900

9 × 13.7 cm Musée de Montmartre, Le Vieux Montmartre Collection

202. Paris. Map of the 18th Arrondissement Fernand BOURNON, Paris-Atlas, Librairie Larousse, Paris, undated (c. 1900), p. 18

Artists’ Biographies

Biographies were written by Phillip Dennis Cate (PDC) and Patricia Nebenzahl (PN); artists’ Montmartre addresses are given.

EUGÈNE BATAILLE

(pseudonym, Sapeck, 1853–1891 Sapeck was a Hydropathe, chief of the fumists, and an Incohérent who studied drawing with André Gill. By profession he was a lawyer, and like his mentor, Gill, Sapeck died insane at an early age. He wrote and illustrated monologues of Coquelin Cadet and others as well as the fumist journal L’Anti-Concierge (1881-83). Sapeck’s special kind of proto-Dada humor is evident in his depiction of Mona Lisa smoking a pipe created thirty-two years before Marcel Duchamp’s famous parody of Mona Lisa with a moustache. Michel Golfier and Jean-Didier Wagneur, Emile Goudeau, Dix Ans de Bohème, Champ Vallon, Seyssel, 2000. PDC

ing the Rat Mort, a subject Dethomas depicted in pastel. In the mid-1890s Dethomas traveled with Lautrec to Spain and Holland; in 1896, Lautrec painted his portrait (National Gallery of Art, Washington). Dethomas designed programs for the Théâtre de l’oeuvre and was best known for his early twentieth-century stage sets for the theater and the opera. Phillip Dennis Cate and Patricia Eckert Boyer. The Circle of Toulouse-Lautrec: An Exhibition of the Work of the Artist and his Close Associates, exhibition catalogue, Zimmerli Art Museum, Rutgers University Press, New Brunswick, New Jersey, 17 November 1984–2 February 1985. Richard Thomas, Phillip Dennis Cate and Mary Weaver Chapin. Toulouse-Lautrec and Montmartre. exhibition catalogue, National Gallery of Art, Washington, 20 March–12 June 2005, The Art Institute of Chicago, 16 July–10 October 2005, in association with Princeton University Press, Princeton, 2005. PN

ANDRÉ GILL EMILE COHL

(pseudonym, Emile Courtet, 1857–1938) Cohl was a disciple and friend of André Gill. As a member of the Hydropathes (1878–81), an habitué of the Chat Noir cabaret and one of the principal members of the Incohérents, Cohl created satirical illustrations for Incohérent exhibition catalogues and journals, such as Les Hommes d’aujourd’hui and La Libre Parole illustrée. Cohl was also a photographer and an early inventor (1908) of animated films in France. His protoSurrealist film Le Peintre néo-impressionniste of 1910 incorporates animation to produce a humorous cartoon story based on the early Incohérent monochromatic paintings. Donald Crafton, Emile Cohl, caricature, and film, Princeton University Press, Princeton, N.J, 1990. PDC

MAXIME DETHOMAS (1867–1929)

A painter, pastelist, lithographer, and illustrator, Dethomas studied under the Montmartre artist, Eugène Carrière at the Ecole des Arts Décoratifs and in the studios of Gervex, Humbert and Bonnat. From the late 1880s Dethomas developed close ties with Toulouse-Lautrec, whose graphic work influenced his own. Together they frequented the cafés, cabarets and dance halls of Montmartre includ-

(pseudonym, Louis-Alexandre Gosset de Guines, 1840– 1885) Caricaturist, writer, poet, founding member of the Hydropathes (1878), Gill was mentor of many of the young humorist-illustrators of Montmartre such, as Emile Cohl. Beginning in 1865 with the journal La Lune, and subsequently with the journal L’Eclipse, Gill lead an unrelenting, one-artist battle against the status quo with his comic depictions of political and cultural leaders of the Second Empire and, after 1870, the Third Republic. In 1878 he and the writer Félicien Champsaur founded the journal Les Hommes d’aujourd’hui. Gill’s humorous, political illustrations were often censored and inspired artists of the 1880s, such as the Incohérents, to subvert the established social and political systems through humor. Gill is perhaps best known for his 1880 sign for the facade of the Montmartre “Cabaret aux Assassins,” which depicts a rabbit jumping out of a saucepan; the cabaret soon became known as “Le Lapin à Gill” (Gill’s Rabbit) and later with the pun: “Le Lapin agile.” (The Agile Rabbit). Gill died a pauper at the mental asylum at Charenton. Charles Fontane, Un maître de la caricature, André Gill, Edition L’Ibis, Paris, 1927; Jean Frapat, André Gill, Musée de Montmatre, Paris, 1993. PDC

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