Documente Academic
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Documente Cultură
MONTMARTRE
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THE TASTE OF
Famous
Places as
Ol
vu
Painters
se.
MONTMARTRE
7003i'/;^;
64
COLOR PLATES
OLD MONTMARTRE:
THE WINDMILLS, THE COUNTRY VILLAGE
FANTIN-LATOUR
GUILLAUMIN
DEGAS
MANET
RENOIR
CZANNE
PISSARRO
SEURAT
VUILLARD
BRAQUE
MODIGLIANI
GRIS
-
MARCOUSSIS
SEVERINI
Distributed
in.
by
the
CLEVELAND
2,
$7.50
and
directed by
ALBERT SKIRA
TEXT BY
PIERRE COURTHION
Translated hj Stuart Gilbert
Montmartre
Title page:
Camille Corot:
The Moulin de
la
Galette at
Montmartre
(dtail),
1840.
by
AU
2,
Ohio
Library
of Congre ss
Cataog
Famous
by Great
Places as seen
Painters
This
that intermingle
on
this
famous
hill.
GEORGES MICHEL
BOUHOT
MARCOUSSIS
UTRILLO
VIVIN
Montmartre
ith its pcturesque houses
cabarets^ its
happy hlend of town and country, Montmartre bas always been no less
appreciated hy lovers of romantic solitude than bj addicts of its nightlife.
For
is
As regards the origin of the name, several thories hve been put
forward, but the obvious explanation that it is a French form of
mons martyrum
or '-^Mount of Martyrs^''
is
most probably
correct,
was
then surrounded by
swamps
Ages a
and
thereafter
the dynasty
of noble
convent
luxurj the marais of the nuns deteriorated. We mil not dwell on the
is reputed to hve made in the
stay that gayest of monarchs Henri
IV
followed by the
efforts
upper convent
mth
the
imposed by Louis
Abbaye
in
XIV,
single
community.
So much for the Butte Sacre, the ''Sacred HilP' of long ago.
Let us turn now to the other side of the picture.
Before the Rvolution there used to be a tavern in Rue de Clichy
called
La Grande
to
the
pleasure-houses
^"^Mount
Marat^^
wealthy
officiais
n^ho
Another
histori
association
calls
the
heroic
182O.
gallant
Montmartre
Fin mill
the Blute
there that
millers
(so
farm
into
down
ivith
up a
Montmartre
former farm-girls.
This vas not the only occasion when Montmartre made historj.
It was at a banquet at
delles (noiP
of
Rue
Le
48 began; and,
March
again, on
Rue du Chevalier
Barre (then Rue des Rosiers) jpas the scne of the outbreak
of the Paris Commune. Some years later, to purge Montmartre of its
rputation as a place of disorderly living and a hotbed of rvolution, and
de la
in
ivho in
bidden the French nation dedicate itself to the Sacred Heart, it was
dcide d to
Notre-Dame du Sacr-Cur,
Montmartrois promptly
the history of
Montmartre, we fnd
mth
this
high
had acquired
no doubt that
it
the rputation of
IN
a not
II
him is lost until 1783 when he was doing his military service
in Normandy; the colonel of his rgiment took him under his
wing, promoted him lieutenant and encouraged him to paint.
While in the army he sent ail his pay to his family. He seems to
hve been away from Paris during the Rvolution, perhaps in
Switzerland, whence he returned a few days before the storming
of the
Bastille.
painter, Bruandet,
from
window went
12
where he turned
open spaces." ^
Michel coUaborated with De Marne, a fairly successful genre
painter of the time, and sometimes brushed in his landscape
backgrounds. "Do as you please," he told him. "You know my
views and how little a signature means to me. In fact I make
a fine feeling for vast
13
in his appraisals;
still I
am
many
one
we hve
who on
Horace Vernet,
his elder
by
by
14
hooked
to the
pommel
We
KILN,
822-1 824.
artist
15
of his saddle," can hve thought that the athletic young artist
was so near his end. One day when he had gone with his friend
Dedreux-Dorcy to Clignancourt, to visit a factory producing
artificial jewels in which he was interested, his horse fell at the
toll-gate in the Chausse des Martyrs. He was severely injured
and after being confined to his bed for many months he died on
'^
16
made by an
artist
(Corot's senior
by
of the
Morvan
sixteen years),
whose
"portrait"
rgion, Etienne
still exists.
Bouhot
Among
who
The
Rue
Grard de Nerval,
who
lived for
some time on
the Butte,
17
quarry."
And
row of
humble
hillside loses a
its
Rue de Norvins,
the author of
who had
wife.
18
They were
at
long
last
84O.
in
19
in a
among
20
folio wing
the
most
Vermeer and
sensitive painters
FROM MONTMARTRE,
CA. 183O.
21
22
23
24
1865.
to his
new home
at
La Varenne
which
reveal
him
formed by
as a precursor
25
orcbards.
26
another? There
is
the birth of a
new
school of
art,
no question
that
that
make
is
needed
is
for
some
artist
him in
he met
little
men
27
mentary
was
later to
It
employ so
may seem
skillfully.
28
for, as things
187O.
29
30
Bazille to
THE PIANO,
1870.
31
"My own
canvas.
likeness
who
is
shown
on
makes us realize Bazille's gift for pictorial conswhat he might hve achieved had he not been killed
in 1870, at the ge of twenty-nine, in the Franco-Prussian War.
When the war ended, the Batignolles group, ail of whom
were much distressed by the death of their generous, warmhearted friend, started meeting again, but no longer at the
Guerbois, which had become unbearably noisy. Marcellin
Desboutins, one of its most constant patrons, spoke ruefully of
graph.
It also
truction and
crowd of
bar."
^2
As
laundresses,
a resuit,
some of
was
its
32
(dETAIL), 1876-1877.
33
him
at the caf
he harangued
ail
wax and that mouth, just hinted at, how beautidone!" Degas, who was a friend of Mallarm at the
time and an occasional versifier, composed a sonnet in her
honor which includes thse lines:
ballet girl in
fully
it's
Si Montmartre a donn
Roxelane
le ne^ et
la
V esprit
Chine
les
et les
aeux
jeux,
cette recrue
tes
pas
lgers de nuit.
little
34
CA. 1879.
35
a habitu of this
famous
well evoked in
artists
found
About
liis
its earliest
caf
defenders.
time
work on
day,
when
36
his
Lamy
friend to expand
it
into a full-size
painting.
hunting expdition.
"Then,
as
it,
we
it
an orchard.
37
(i
IN A CAF AT
MONTMARTRE
(dETAIl), 1877.
This fine pastel which formed part of the Caillebotte bequest is now in the
Louvre (Cabinet des Dessins). The color was laid in on a monotype of
which only one copy was pulled a technique in which Degas excelled.
The scne is a boulevard caf in Montmartre. "We see two women seated
at the entrance," wrote Georges Rivire in the first issue (1877) of the
magazine L'Impressionniste, "one of them clicking her thumbnail against
her teeth, as if to say 'He didn't even give me so much as thatV while her
companion has laid her big gloved hand flat on the table in the foreground."
38
39
40
(dETAIL), 1879.
41
there
in next
morning.
42
43
modem
there
When working on
his
peace, lead a
Bohemian
life
and behave
as fantastically as
you
little
houses.
mountain
44
pass.
TA,
90O.
45
WHEN
under
teachers
who
did
ail
Academy of Antwerp
pendent
known as Cormon,
Avenue de Clichy and arranged
Piestres, better
a studio at 104
fabrics cluttering
up
the corners."
On
the walls
and
hung
rich
copies
and self-absorption
morning with the other students, painting from the
model; in the afternoon, when only Toulouse-Lautrec, Anquetin and myself were in the studio, from Cormon's ^antiques'." ^^
After a while Vincent tired of this arrangement and when his
brother moved into new quarters at 54 Rue Lepic, he went to
live with him. There were three fairly big rooms, one small one
in the
46
(a sort
886-1 888.
47
TT
At
painted
Paris
still lifes
48
making vast progress as an artist. Also, he's much more cheerand everybody hre likes him." And Tho added that he
was still quite determined to "launch" his brother.
This was none too easy. Once the abrupt change in his life
had ceased to operate, Vincent relapsed into his former mental
instability; his nerves were always on edge and he "struck
ful
886-1 888.
49
ail his contacts. A rallying-point of the ImpresTheo's picture-shop was patronized by Monet, Sisley,
Pissarro, Degas, Seurat, Raffaelli. But though their canvases
were on view every afternoon from five to seven (with the
exception of those of Degas, who never exhibited), it was
uphill work getting them approved of by the public and cri tics.
Vincent loudly aired his views on art and the nefariousness of
art-dealers, protesting violently against the way the Goupil
Gallery was run, nagging Tho and urging him to break with
his employer and start a new gallery of his own.
Van Gogh' s constant prsence had a bad effect on attendances at the gallery and, strong as was his sens of the family
tie, Tho began to hope that his "impossible brother" would
make a move. "There are two men in him," he wrote to his
younger sister. "One is marvelously gifted, gentle and sensitive;
sparks" in
sionists,
the other, selfish and cruel. And the pity is that he's his own
enemy; for it isn't only for other people that he makes life
difficult, he does the same thing to himself."
Jatte,
We
Clauzel,
50
was alone
in
showing
interest in
Van Gogh' s
painting.
886-1 888.
51
In this same
summer
In the winter of 1 887-1 888 he made many portraits, including one of Pre Tanguy and several of himself, most striking
is
the one
52
53
'X_%
\m^^. -/.
"-n'HA
54
of
Van Gogh' s
art.
True, the
in Paris
had not
them
homage
to the three
and
red, of the
55
56
LAUTREC'S PERAMBULATIONS
could those two
WHAT
seemingly
that his deformity attracted little or no attention on the boulevards and in the Montmartre cabarets. Appearances notwithstanding, the scion of the ancient house of the Counts of
57
at the
later Bruant,
58
Mo.
32
L
59
33
J
HENRI DE TOULOUSE-LAUTREC. ARISTIDE BRUANT, 1893. POSTER.
60
To
this
footlights,
women
at their toilet.
He
its
it
"Moulin de Lautrec,"
Moulin Rouge, "whose
the
successor, the
61
62
189O.
63
Renaudin who kept a bar in Rue Coquildanced there under the name of Valentin le Dsoss
(an allusion to his "rubber-legged" contortions), his opposite
number being La Goulue. Other floor dancers bore such
picturesque names as La Mme Fromage, Grille d'Egout and
lire
certain Jacques
2^,
Rayon d'Or.
When
his entry
and lusty pugilists who cleared the way for him and
him from the crowd, he always created a sensation.
"People stared in amazement at this queer, topheavy little man,
swaying on his stunted legs like a ship at sea, with an enormous
head, black, bushy beard and thick lips, eyes twinkling ironically
behind the pince-nez straddling an enormous nose. He often
wore check trousers, a flat-brimmed derby and, in winter, a
blue frieze overcoat and a green muffler loosely knotted round
his neck with the ends flapping on his chest." ^^
When in 1892 Zidler handed over the Moulin Rouge to one
of the Oller brothers, Lautrec was somewhat anxious about the
fate of his two big pictures hung in the lounge above the bar
over which presided a wench of ample charms named Sarah.
This was the time when La Goulue, whom Lautrec had known
for five years (he had been prsent at her frst appearance at the
Elyse-Montmartre), was at the height of her fam and attracted
crowds to see her dancing at the Moulin. "Her legs shoot up
into the air, imperil the bystanders' hats, and reveal suggestively
but winsomely a mass of flimsy undies," wrote a contemporary
observer in the magazine Gil Blas.
Two of Lautrec' s English cronies, the artist Charles Conder
and the poet Arthur Symons, typical personalities of the Yellow
Book era, were fascinated by the "French Can-Can." There was
always a crowd of Americans and Englishmen, the latter wearing
knickerbockers and smoking bulldog pipes, rubbing shoulders
painters
shielded
64
of the establishment,
Many
66
67
LAUTREC.
68
1893,
Lautrec thoroughly
Balls, masquerades and caf-concerts
enjoyed the hectic life of Montmartre in the 'nineties. After 1895
he went less often to the Moulin Rouge, hitherto his favorite
hunting-ground, and frequented other music-halls and cabarets.
One was Le Hanneton, a brasserie with a spcial attraction
for women, run by a certain Madame Armande; another was
Les Dcadents (16 bis Rue Fontaine) where he was much struck
by an Irish singer, May Belfort, who wore little-girl frocks and,
while performing, always held a black cat in her arms. Her
costumes, ail in one color, lent themselves admirably to the
flat tints Lautrec then was using in his paintings.
Next came the Yvette Guilbert sries. With her first appearance at the Chat Noir the clever young singer from Nice had
made an immdiate hit, and by 1891 she was the talk of the
town. Audiences clamored for Xanrof 's Le Fiacre and, of the
songs she herself composed, Les Demi-Vierges. In her tightfitting dress, she eut a striking figure. Lautrec's sketches bear
out the description of her given by Ren Maizeroy, one of her
earliest admirers.^^
mocking eyes of
"A
pale,
A mop
Xanrof
woman who
down
at the
Divan
69
to him after seeing his sketch of her, emphasizing her long nose
and grotesquely pursed lips as she stood before the footlights.
Meanwhile where was Lautrec living ? In the heart of Mont-
70
^'
v-'^
-m^^-'^mmx.-:--
71
ivr
c-^A
PIERRE BONNARD. SKETCH OF A POSTER FOR THE MOULIN ROUGE, CA. 1892.
72
BONNARD
ARTISTS
was being
Escarmouche
of the poster was published in the magazine
31, 1893). The cover of this issue was designed by
Flix Vallotton and it contained, among other reproductions,
one of Bonnard's Cuirassier. Thse two young men, Vallotton
and Bonnard, belonged to the group of artists (which included
Vuillard, Roussel and Maurice Denis) who were closely associated with that famous periodical the Revue Blanche. Fnon, its
secretary gnerai, who had been a close friend of Seurat, was
one of the most enlightened art critics of the day, and the
magazine was a godsend to the younger gnration artists.
In the same year, 1893, Bonnard, who had begun by having
(December
73
that
woman
little
dress-
his
work
is
one of thorough-paced,
if
good-humored
socialism.
74
75
I hve
showing Edward VII
Grand Duke Nicholas watching the can-can
believe.
it)
was
a Moulin Rouge
depicts
human
means or
76
social status.
The raw
one might say, the asphalt of the sidewalks, the stone of pavingblocks and even the iron of the bridge whose grated platform
overhangs the tombstones of Montmartre cemetery. Though
thse people bear indelible marks of sufering, they always seem
ready to takewing towards that wonderland whichwasBonnard's
spiritual home. He liked humble folk and loathed pretentiousness of any kind. For a long while I took him for a religiousminded man, and in the last analysis perhaps he was one; so
vident was his gratitude to Providence for having granted him
the joy of painting and creating.
There were several artists of the older gnration who lived
in Montmartre not far from Bonnard. Degas was at 22 Rue
Pigalle; Seurat's last studio before his death in 1891 was in
the Passage de l'Elyse des Beaux-Arts, and he intended, so
Coquiot tells us ^, to paint Place Clichy with its teeming crowds
as a pendant to his Stinday Afternoon at the Island of La Grande
Jatte.
(a Belgian,
who had
at the
artist
grisette,
hilarity,
his
^''Pices
shaped like a
in
question, Erik Satie, had got his start as a hired pianist at the
artists
78
minimum
of "loquence," the very essence of sensation. And in Montmartre as elsewhere, perhaps more so than elsewhere, there was
a revolt against intellectualism.
79
and red,
were painted in a house in Square Vintimille (now Place Adolphe
Max) where he was living with his mother; notable in thse
pictures is the way he modultes Lautrec's flat tints, giving
them
new
artist,
confined
member of
in his painting,
and
also
other
artists
how
became
a fashionable portrait-painter;
he forgot
80
81
term, dfinitive.
It is
Mac Orlan
has con-
up so well
in his
82
CA.
I9IO.
now
half-empty boulevards
the
boulevards,
women moving
at
dawn
on piles of rags
and scrap-iron ail thse familiar scnes of the Montmartre
streets Bonnard painted with a vivacity of Une, an exactitude
drivers with their hordes of children squatting
83
84
directness that to
cabaret
and forcible
He was
moving
And
picture
whose
textural richness
is
is
however
fine,
was
THE BATEAU-LAVOIR
AND IMPASSE DE GUELMA
September 1900 a nineteen-year-old young man from
Pablo Ruiz Blasco he was later to adopt his
mother's maiden name, Picasso came to Paris for the first time,
to study art. He began by camping out at 49 Rue Gabrielle with
a Spanish painter, Casagemas, in a studio formerly occupied by
Nonell, his compatriot. It was hre he made the acquaintance of
several Catalan artists who had already found their way to Paris,
one of them being Ramon Casas, a painter of scnes of Montmartre life. Meanwhile he visited picture-dealers, trying to
interest them in his work, and succeeded in selling three sketches
to Berthe Weill. In her gallery he met Manyac
yet another
Catalan who oifered to pay him a hundred and ffty francs a
INMalaga,
month
shown such
facility
and so remarkable
him "the
(Maurice Utrillo's
Goya." Miguel
86
During
his
second
in a style ranging
87
comma-like brushstrokes,
common
style
Rue
Lafitte.
At
this
which opened on June 24, 1901, he showed seventy^Yt pictures. There he met Max Jacob and the two young men
became firm friends. Manyac's studio it figures in The Blue Room
(in which we see nailed to the wall Lautrec's "May Milton"
poster)
contained two rooms. "The smaller was Manyac's
bedroom, the larger Picasso's. The first thing you saw on entering was the big picture of The Burial of Casagemas which stood
at a little distance from the back wall, like a screen put there
exhibition,
Picasso had
89
warm himself in an
90
91
on Rue Garreau.
some way down a
"Picasso's
passage,
*den'
on the
left his
One
^^
hearted young
He had
who
practically naked."
floor
On
left.
it
as a prsent.
many
years later.
couldn't resist."
ware basin on
beside
it.
Soon after Picasso settled in the Bateau-Lavoir, "a blueblooded little Spaniard with jet-black eyes, a near-black face
and coal-black hair" ^ moved into a small, uncomfortable
studio on the left of the entrance. His name was Jos Gonzals
(soon changed to "Juan Gris"). Almost penniless, he slept on a
truckle bed with a stove-in mattress. "In spring and summer
92
monumental figure.
Manolo was the only constant frquenter of Picasso's shedlike studio. "The ceiling was supported by tremendously thick
a single, grandly
beams,
much
93
JUAN
94
I915.
95
96
97
woman
d^ Avignon
^^,
Cubism
as
we know
it today was the resuit of many tenand sudden inspirations. It is difficult to say
to open painters' eyes to the "new dimension,"
tative experiments
who was
the
first
98
99
However,
in
its
artist
and
origin, since
in particular
it
was
in Paris
100
JiRCCf
lOI
scanty living
by
selling sketches
Rouge
made
at the
Moulin de
la
now
a steady influx of
young
artists
102
spent much of his time exploring the slopes of the Butte. "One
day," he told me, "when I was walking up Rue Lepic on my
way to the Sacr-Coeur, I collided with a dark young man of
my own
Moulin de la Galette.
was wearing struck me as familiar. 'You're
Italian, aren't you?' I asked. 'Sure, and so are you, unless Tm
much mistaken.' Then I learnt that like myself he came from
Tuscany and was living in Montmartre."
The young man in question was Modigliani. He soon had
had enough of living in his eyrie in Rue Caulaincourt and
moved into a sort of greenhouse at the end of a little garden
near the top of Rue Lepic. There he led a solitary life, surrounded by reproductions of great-master pictures nailed to
the walls. His furniture was of the scantiest a bed, two chairs,
a table and a trunk which served as sofa and "he always wore
corduroy velvet suits and an ultra-flashy scarf." ^ He adored
Leopardi's poetry, was keenly interested in philosophy and his
favorite painters were Picasso and the Douanier Rousseau. A
votary of "modem ideas," he had the courage of his convictions. One evening in the Spielmann restaurant on Place du
Tertre he silenced two young Royalists who were throwing their
weight about "Fm a Jew, and you can go to hell!" and
they were too much flabbergasted to retort. Amedeo ("Ddo"
to his friends) was a drug addict and regularly scoured the cafs
and bars on Place Blanche and Place Pigalle in search of drugs.
During this period, when so many artists were busily producing
what they called "social studies," Modigliani did very little.
about
The type of
hat he
"I
work out
good of
day
in
my
head," he
when
103
nobody
will
buy
my work?" ^^
Rue
Lepic, the
artists
from ail over the world, eager to scale the "Sacred Hill" and
set up their easels in Montmartre? Was it the renown of the
descendants of the Batignolles group, the impressionist paintwho were coming more and more into favor? Personally
I think that the chief attraction for thse foreign artists was a
ers,
104
Max
Jacob sometimes
"out of Christian
and
hardly less of Modigliani, who sometimes came back fghting
drunk and started smashing up doors and Windows.
It was this English girl, his "guardian angel" though there
was little angelic about her, who supported Modi from 19 14
to 191 6 and enabled him to continue living in Montmartre (in
Rue Boissonnade). Before moving across to the Left Bank he
had left his greenhouse-studio in Rue Lepic and taken a room
in the building formerly "Le Couvent des Oiseaux" at the
corner of Boulevard de Clichy and Rue de Douai. The last of
his various Montmartre homes was just off Place Pigalle, in
Rue de l'Elyse des Beaux- Arts. When negro art came into vogue
he carved a number of stone heads, showing the influence of
Brancusi, the Rumanian sculptor whose acquaintance he had
features.
made
slept there
was mortally
He
also
afraid of burglars
made
105
many of which
are
now
^^ But he found
out of him and soon
in a private collection.
much
reverted to painting.
108
CA.
I9II.
UTRILLO'S
MONTMARTRE
hand
at painting,
hoping
it
would
take his
mind
He began by
to
painting
la Monticelli
109
I912.
But even more typical was her son Maurice Utrillo, who
was born on Christmas Day, 1883, when his mother was living
in Rue du Poteau. Since buyers complained of his huge signature
sprawling over the canvas she often signed his early works
in her neat, clear hand. From 1905 on he lived on the Butte
Montmartre. This littie spot of earth was ail his world;
IIO
III
he knew by rote, and loved, its every stone, its every wall, its
every by-way. "With bricks and mortar, stone or roughcast
walls, tiles, asphalt and cernent he built his private paradise." ^^
When painting the roofs and the house-fronts, patterned with
shutters brown or green, of his beloved Montmartre he became
like a man in a trance and forgot that he was a social misfit,
"a bad lot touched by grce," an outcast whose only redeeming
feature was his dvotion to his mother. He never fully realized
what it was that he put into his pictures. "It was Raffaelli who
impressed me most," he once told Carco, "and my fondest
hope was that one day I might know my job as well as he."
Suzanne Valadon protested: "Raffaelli what nonsense! There
was better stuff in y ou than that!" ^^
Instinctively Utrillo used the most rceptive of ail colors,
the one upon which every thing tells out most clearly: white.
He mixed his white with Montmartre plaster and surrounded
it with browns just kindling into buff, or interspersed it with
those patches of acid green, salmon pink and fuU-bodied red
which give his color-schemes their glorious depth and richness.
White was Utrillo's color, and he exploited ail its nuances,
every physical property of the mdium, so as to make us
conscious of the tactile qualities, the grained and rugose texture
of old walls constantly exposed to wind and rain. Utrillo had
a poet's sens of the eternal behind everything, the timeless
message of the timeworn, of surfaces that men hve touched
and soiled, patched up, replastered, scoured and repainted,
gnration after gnration. How eloquently he has exprs sed
this poetry of the weather-beaten in his views of the street
leading up to the last Montmartre mill of the old house with a
steep-pitched roof squeezed between the high buildings of
Rue du Chevalier de la Barre; of Berlioz' "love-nest" discreetly
hidden behind a massive wall; of Mimi Pinson's home with its
farmhouse gte; of Rue du Mont-Cenis and Place des Abbesses,
112
in a corner of
frame maker,
which we
frst
Utrillo offered a
GARDEN, I909-I9IO.
barman
window.
When
man waved
like that
113
showed them
his Utrillos.
L<>tt5;
114
UL'^o
I912.
115
no
is
joke,
whitewashed walls!"
On
"Free
Commune"
town
hall
sponsored,
on
the Place
among
skyscraper" clan
fgured the
list
on the
116
ail
117
I92O.
Max
of
cafs
118
ail
crazy.")
Some
practical jokers
had the
tail
of Frd's donkey,
lod "helping"
it
to paint a picture,
now
women
included droves of
On
to
this
written, in
it
was
119
"M..on fmartre
as
hills
is
the Sacred
though
this trans-
in
Bruanfs
Ail
songs,
After heing
revived at the
Bal Tabarin
the ^^French
is
noip
the
Moulin de
jphose
la
Gaumont
and tumble-
Like
the
Bateau-Lavoir,
Dufys
'-''Paris
Guelma
is
by Night.^^ Since
no longer tenanted
for good. But in the end he has returned andfound his last resting-place
in the Saint- Vincent Cemetery, ivhich he so often painted.
Where do
to the
Sacr-Cur
ivhich
Vivin
^^
up
120
TWf:
121
Yet heside the new basilica. Saint Peter^s, its ancient parish
is in clipse.
nightlife
is
and
the
no criterion
feast
my
Lacourire the
visit
favored hour
eyes on the
Sacr-Coeur, or to revive
streets
in
my
and
my memories
taverns he loved so
ivell.
As
I walk,
the corner of
Rue
my
eyes.
At
shows up against the flight of steps like a single figure hewn in stone.
A young man walks briskly past me, and I can sens his eagerness
explore this
mth
his.
beginning;
^^
No,
the last
page
is
and gradually
to
supplant
be
Montmartre.
to
my memories
is
BIBLIOGRAPHY
INDEX OF NAMES
LIST OF COLORPLATES
TABLE OF CONTENTS
6,
^ This incident, which took place on March 30, 1814, was painted by
Vernet in 1820. The picture shows Marshal Moncey on horseback giving
orders to the battalion commander to hold Montmartre Hill against
the advancing Russians. Several well-known figures, notably the writer
Marguery-Dupaty and the painter himself, may also be identified in the
picture. On the building in the right background is a signboard reading
Au pre
Lathuille.
* In the Cabinet des Dessins at the Louvre are two albums containing
in ail 48 colored drawings by Georges Michel, mostly small, hastily
jotted sketches for fuU-size pictures. There are many scnes of Montmartre
and Clignancourt ; Jules Claye, a publisher of art books, had them bound
together about 1874 in an album entitled Vues de Paris et de ses environs
par Georges Michel. Thse two albums were bought by the Louvre from
M. Adolphe Court in April 1892 for 500 francs. The rapid, sketchy excution of thse little scnes (one or two brushed in so lightly that the water-
la fin du Second
124
en France ^ de la fin
du
XVIII*
November
Le
'
On
Constitutionnely Paris,
25,
1846.
galante.
la
Vieille-Lanterne.
sicle
^*
Ba':(ille et
son temps.
Gne va
1952.
"
in
Edmond
1*
de Concourt,
in Clment-Janin, op.
cit,
" Georges
" Georges
Rivire, op.
"IVe taken
^'
little
cit.
room
in
Gogh
July
^*
No.
6,
Emile
18,
Bernard,
Geneva
Relations
avec
Toulouse-Lautrec,
Art-Documents,
1952.
1^ Thse dtails are taken from the introduction by Mrs Van GoghBonger, sometime Theo's wife, to the Letters from Vincent van Gogh
to his Brother Tho (in Dutch), Amsterdam 1924.
^^ It was for the walls of Le Mirliton that Lautrec painted his famous
Quadrille de la chaise Louis XIII r Elyse-Montmartre (1886), the first
of his paintings in which La Goulue figured. In his study of Lautrec
(Skira, Geneva 1953) Jacques Lassaigne points out that Bruant's influence
was responsible for the "social criticism" implicit in such pictures as
Gueule de Bois and
la mie. In the right foreground of Le Quadrille de
la chaise Louis XIII stands the character known as "Le Pre la Pudeur,"
employed by the management to see that the bounds of decency were
not overstepped in the course of the evening.
*^
'*
Alexandre Georget,
VEcho
de Paris.
125
24
2^
Maurice Joyant,
op.
cit.
The Cirque Fernando (later called Cirque Medrano) made its frst
appearance in painting in 1879 with Degas' picture of Aliss Lala (often
referred to mistakenly as "Miss Lola"), a mulatto girl well-known as a
trapze artist whose star turn was having herself shot out of a cannon.
Lautrec's Circus Rider was done at the Cirque Fernando, as were many
lithographs of the set published in 1899. It was also a favorite haunt of
Seurat, but his large canvas The Circus was still unfinished at his death
2'*
2^
In the
"^^
On
June
il
20,
1897.
2^ "O
Muse of Montmartre, dainty-fingered working-girl!" Thus
Emile Goudeau invoked the "Muse de la Vachalcade," Mademoiselle
Marguerite Stumpp.
Gustave Coquiot,
Seurat, Paris
1924.
^2
Henri Duvernois.
^^
Clovis Hugues.
^*
Pierre
Mac
Orlan,
^^ Published in
1899 as No. i of the Panthon-Courcelks
cover illustration was a lithograph by Bonnard.
126
sries,
whose
^^ In
1896, in conjunction with Franc-Nohain, Claude Terrasse and
Alfred Jarry, Bonnard started the Thtre des Pantins, in Rue Ballu,
with marioncttes (over 300) made by himself. Attendances were small,
but somehow the little theater kept going. Between 1896 and 1898 the
Mercure de France printed six Bonnard lithographs as covers for the
programs.
^' This Moulin Rouge was the central panel of a triptych, the sides
being scnes of women in huge hats and people having supper.
^^
^^
Les
Soires de Paris^
January
1914.
15,
Fernande Olivier,
^1
*2
Max
et autres, in
Les Nouvelles
littraire sy
1932.
*3
Paris,
Windows of
Apollinaire's Alcools.
*^
Jos Gonzals,
the Cubist
*
first
alias
Juan Gris.
It
was not
until 191
that he joined
movement.
*' In
1909. This demonstrated to brilliant effect the technique of
"analytical Cubism." Unfortunately we hve been unable to discover the
whereabouts of this picture, a photograph of which is owned by
M. Kahnweiler. It was in 1909 that Picasso fuUy worked out the principles
of the new art of which *'analytical Cubism" was the first phase. This is
confirmed by Fernande Olivier and Victor Crastre {Naissance du Cubisme,
Cret 1910). According to the latter it was at Horta de Ebro that Picasso
made his first cubist pictures, which were acquired by Gertrude Stein.
127
Paris 1929.
^^
^"
1947.
Modigliani's
style.
In The Arrest, one of his very few figure paintings, Utrillo illustrated
an incident that actually took place in front of La Belle Gabrielle, a cabaret
run by Marie Vizier. Utrillo persisted in visiting the place, though he
continually got into scrapes with one or another of the toughs who enjoyed
the proprietor*s favors. The picture shows the artist about to be led away
to the police-station in Rue Lambert where he was an old acquaintance
of the police-force, which was constantly obliged to intervene in the
drinking brawls he got involved in at ail hours of the day and night.
^2
"Francis Jourdain,
"
calls *'his
SELECTED BIBLIOGRAPHY
Jean Renault
&
vie
de
de
franaise
(Willette,
J.
et ses artistes ^ in
et le
des potes de
des petites
de
galantes.
Clichy,
sicle ^
etc.^
P.
2.
autrefois
et
aujourd'hui ^
de nos
9.
travers
le
hier et aujourd'hui^
clbre s ^
de la
parnasse^
en
de la fin
sicle
peinture.
et
la fin
latin^
peintres
de
Villes,
Utrillo,
etc.,
des origines
sacre,
terre
sicle,
des artistes,
10,
de
belle
peintres
paysage parisien.
Schools of Painting
Modem
129
Painters of Montmartre
INDEX OF NAMES
Acadmie Suisse
Adhmar
Albi
27.
Bonaparte Joseph
Jean
BoNNARD
57.
127
127 (note 44); Alcools
(note 44); Zone 127 (note 44).
Argenteuil 18.
Arles
5 5
102,
Armande Madame
Asnires
69.
50.
Bazille Frdric
2si.
Requiem
Bernheim-Jeune Gallery
99.
81.
18.
hy Night
79;
Place Clichy
Montmartre
The Cuirassier
73;
83; Rue Tholo:<:,
84; Sketch of a Poster
72.
BouHOT
Brancusi Constantin
Braque Georges 99,
105.
100, 102, 104,
Bruant
Aristide
125 (note 20).
BuHOT
99;
Bruandet Lazare
12.
Brussels
Flix
58.
32.
35.
Blanche Dr
Cabanel Alexandre
Bernard Emile
Berne,
24.
7.
Berlioz Hector
nuto Cellini
The Boulevard
Batignolles
Buffet Eugnie
26
1 3
Bndictines
Berlin 24.
Pierre
72/85, 107, 119,
120, 126 (note 35), 127 (note 36);
Boum-Boum, Clown
Bourges Dr 70.
66.
Belleville
109.
14.
9,
(note 20);
131
Cafs
Restaurant of Me Bataille
47;
Caf Boivin
32; Chez la Mre
Adle 104; Le Casse-Crote 115;
Auberge du Clou 78; Les Dcadents 69 Le Franc-Buveur
5 5
Caf Guerbois
27, 28, 32, 120;
Le Hanneton 69; Brasserie Muller
27; La Nouvelle- Athnes 32, 34,
109; Chez
35, 120; Les Oiseaux
Olivier 44; Chez le Pre Lathuile
32, 41, 124 (note 3); Le Point de
Vue 51, 55; Spielmann Restaurant
103; Chez Wepler
32, 85, 120;
Caf "Le Zut*' 89, 90, 105.
;
Caillebotte Gustave
Ramon
Catalonia
86.
86.
CZANNE Paul
25,
Rue
des
(note
CouRTELiNE Georgcs
4).
61, 78.
Courtenay 58.
Cr ASTRE Victor, Naissance du Cubisme
127 (note 47).
(Cret 1910)
Crau, La
52.
Cubism
42,45, 47)116.
Daguerre
Damrmont
General
18.
Daulte
Clment-Janin,
La
Deshoutins
curieuse
(Paris
CoQuioT Gustave
vie
de
1922)
15.
64.
119.
78.
Decius, Emperor
Dedreux-Dorcy
7.
Pierre- Joseph
15,
16.
Degas Edgar
Miss Lala
Women
Clment Charles
CoNDER Charles
Dax (Landes)
Debray 10.
34;
132
Debussy Claude
1924)
Aca-
12).
27, 36;
Saules, Montmartre
23, 25.
Chambord, Comte de 34.
Marcellin
Piestres),
Dadaism
38.
Cargo
Casas
JHoRMON (Fernand
in
Delcass
(note
26);
34, 38.
Thophile 100.
Delmet Paul
De Marne
78.
Jean-Louis
Denis Maurice
Denis, St
126
a Caf
13.
7.
15)-
Desportes Flix
DoNNAY
8.
DoRBEC
DoRGELs Roland
105 ; Montmartre y
(Paris 1928) 128 (note 49)
Alfred de 26.
mon pays
Dreux
Druet Gallery 114.
DuFY Raoul 89, 106,
Edward
VII,
King
Edwards Edwin
Eleutherius, St
(note 32).
in
(note 31);
Paris (Iturrino) 76,
28, 29, 31
32.
115, 116.
89,
105,
15.
Germany 24.
Gervex Henri 36.
GiLL Andr 105.
GoENEUTTE Norbert 32, 36.
GoNCOURT Edmond de 125 (note 14).
GouDEAU Emile 126 (note 29).
Goulue La 64/66, 125 (note 20), 126
Francisco
46, 50.
86.
of La
Jatte, Island
Greco El 86.
Gregory of Tours,
Grenier
70.
Grenoble,
Musum
St
50, 77.
7.
26.
92, 93,
100, loi, 104, 117, 127 (notes 41,
45); Still Life and Landscape (Place
94.
69;
Vierges (song)
Guillaume Paul
GuiLLAUMiN Armand
martre
26, 52;
Mont-
25
GuiNGUET
Halicka
Les Demi-
69.
104.
8.
Alice
Hastings Batrice
Henri IV, King
105.
8.
120.
GRiCAULT Thodore
Ravignan)
valier)
Gay Csar
Frdric (Frd)
119.
GuiLBERT Yvette
Folie-Sandrin 18.
Fontainebleau, Forest of 12.
Forain Jean-Louis 17, 32, 44, 87,
126 (note 31).
FoREST Pre 70.
Franc-Nohain 127 (note 36).
Francis of Sales, St 8.
Futurism 100, 106, 127 (note 46).
picture-house
106,
Grande
Gaumont
GRARD
Goya
7.
Fantin-Latour Thodore
de Paris
77-
3i>
(note 23).
76.
29.
d'Histoire
et
19.
Kiln
Che-
Windmills
125 (note 10).
Holland loi.
Horta de Ebro (Catalonia)
(note 47).
Hugues Clovis
100, 127
133
Ile-de-France
Paintings:
104.
Impressionism
Iturrino Francisco
Jacob Max
36).
14.
11, 26,
Jourdain Francis
122.
55.
Belfort
69;
134
(note
(note
20).
May
58,
ilton
59, 65;
i).
LiBAUDE,
114.
Liszt Franz 18.
Louis XIV, King 8.
Loyola, St Ignatius of 7, 124 (note i).
LucE Maximilien 89.
Lyons, Muse des Beaux- Arts
125
(note II).
Pierre
U
E
Parisienne
89;
i).
103.
picture-dealer
113,
46,
52, 57/70, 79, 80, 82, 85, 87, 107,
126
120, 125 (notes 18, 20, 21),
(notes 23, 24, 25, 31), 128 (note 51);
Posters: Aristide Bruant 60, 61, 73;
May
56, 57.
(Paris 1929)
90.
Lacourire, master-engraver
La Faille J. B. de. Van Gogh
La Fontaine Jean de 119.
Lamy Franc 36.
Lassaigne Jacques
125 (note
Laurencin Marie 96, 99.
Lautrec Henri de Toulouse-
The
The
Mac Orlan
24, 25).
Karr Alphonse
4).
JuNYER Sbastian
Rouge
63;
Cir eus -Rider 66, 126 (note 26)
55).
124 (note
A la mie
Moulin
the
76, 89.
At
70.
Matre Edmond
Maizeroy Ren,
Blas Illustr
27/29, 31.
in the Gil
69, 126 (note 27).
article
126
35,
(note 31); Che^i le Pre Lathuile 41 ;
Portrait oJ George Moore
35.
Offenbach Jacques
93.
du Peuple
8.
100,
102,
Sacr-Cur
64.
92, 100, 104, 127
(note 47); Picasso et ses amis (Paris
1954) 127 (note 40).
Oller brothers 61, 64.
Olivier Fernande
96,
118,
99,
Michel Georges
119,
Millet Jean-Franois
MiRBEAU Octave 114.
Modigliani Amedeo
14.
99, 103/106,
117, 128 (notes 48, 51); Portrait of
Sacr-Cur
86;
127 (note
St Peter's
55);
Saint Vincent Cemetery
20
BatignoUes
101,117.
64.
(note II),
Muse du Luxembourg
28.
MoREAu Gustave
Moscow, Musum
Bibliothque Nationale
125
126 (note 23); Louvre
II, 15, 46, 86, 124 (note 4); id..
Cabinet des Dessins
124
38,
(note 4); Muse Carnavalet
23;
Paris,
98.
3).
50.
109.
Avenue de Clichy
27, 32, 46;
Avenue Frochot 26, 70; Avenue
de Sgur 1 3 Avenue Trudaine
78, 1 13 Avenue de Villiers 104.
;
Modem
West-
martre
46, 78, 80; Bd Rochechouart 57, 66; Bd Voltaire 90.
Butte Pinson 109.
Chausse des Martyrs 14, 16.
ern Art
Moulin de
of
89.
la
Napolon
Napolon
57.
III 93.
77-
Neo-Impressionism
104.
Nerval Grard de 17, 18; Aurlia
18; La Bohme Galante
18, 124
(note
Nice
8).
Nonell Isidro
Normandy 12.
86.
76.
Impasse Cauchois
26; Impasse
Girardon 44; Impasse de Guelma
86, 106, 109, 120.
135
Rue
Quai d'Anjou
52; Quai SaintMichel 96.
Rue de l'Abreuvoir 128 (note 55);
Gabrielle
86;
Saint- Vincent
8,
18,
19,
22,
24,
136
Rue Victor-Masse
90; Rue de la
124 (note 9);
Rue Vignon 99; Rue Visconti 28.
Square d'Anvers
109; Square
Saint-Pierre 78; Square Vintimille
Vieille-Lanterne
(now
Place
Adolphe Max)
80.
Petit Eugne
32.
Pfannstiel Arthur, Modigliani (Paris
128 (note 48).
1929)
Picasso Pablo
93,
96,
86,
98/104,
PiCHOT Ramon
90.
Rachou Henri
70.
Raffaelli Jean-Franois
50, 112.
Ramsgate 5 5
Raynal Maurice 99, 100; Le Banquet
Rousseau in Les Soires de Paris
(January 15, 19 14) 127 (note 39).
Rayon d'Or
Realism
64.
26.
Rembrandt
14, 24.
6)
Building in Progress on
Reuillard
Le
Gabriel,
naire du Bateau-Lavoir in
U Impressionniste
amis (Paris
cinquante-
Le Monde
1921)
SiMONET
SiSLEY Alfred
47).
116,
74, 76, 87, loi,
(note 31); Moulin Rouge
76.
58,
Suresnes
103,
Ejfect.
RusTicus, St 7.
RuYSDAEL Jacob-Isaac
14.
78, 120.
(note
i).
Salon 1868
28; Salon 1870
28;
Salon d'Automne 1908 99; Salon
des Indpendants 119.
64.
Sarrazin Jehan
69.
Pre
Thor
Toulouse
70.
Uhde Wilhelm
26.
100.
Utrillo Maurice
14.
Seurat Georges
30); The
26);
Island of
29.
30, 91.
18.
18.
Troyon Constant
78, 109.
Schlderer Otto
Segatori, La 52.
12.
Symbolism 80.
Symons Arthur
Tanguy
(note 38).
Satie Erik
Sue Eugne
17,
126
66.
13.
Sabarts Jaime
Seine
View of
Sarah
50;
16).
100,
34, 48,
26.
Montmartre
120,
122,
137
1
Valadon Suzanne
Valentin Le Dsoss
Renaudin) 63, 64, 126
Vallotton Flix 73, 80.
(Jacques
(note 23).
50,
52,
Vauxcelles Louis
Venice
25.
Asylum 116.
Villon Franois 10.
Vincent of Paul, St 8.
ViviN Louis 120, 121, 128
Villejuif
(note 55);
VuiLLARD Edouard
Clichy
Wagner
Moulin de
la
21, 23.
73,
80;
Place
82.
Richard
28.
90.
99.
44.
Yaki Paul
(note 3);
1947)
128 (note 50).
ZlDLER
Vigny Alfred de
Zola Emile
18.
i).
artistes (Paris
69.
61, 64.
29, 31.
124 (note
7),
THE COLORPLATES
BAZILLE,
Bazille,
Frdric (i 841-1870).
1870. Louvre, Paris
The
Studio, dtail:
Louvre, Paris
BELLARDEL,
Montmartre
BONNARD,
Rouge,
The
Edmond
30
Hillman Collection,
1904.
New
(32^x16%^)
York
ca. 1907.
Mr
24
Moulin
ca.
The Boulevard,
at
72
(i^AxiS'/bO Formerly
79
Paris
BOUHOT,
ca.
Mr
83
New York
84
BRAQUE,
191 7.
(26x13720
...
16
(21 72X16%'')
97
CZANNE,
Paul (18 39-1 906). Rue des Saules, Montmartre, 18671869. (12/2X16V8O Georges Renand Collection, Paris
....
23
COROT,
Camille (1796-1875). The Moulin de la Galette at Montmartre (dtail), 1840. Muse d'Art et d'Histoire, Geneva
.
19
22
DAGUERRE,
20
139
DEGAS, Edgar
The Absinthe
(1834-1917).
(dtail),
1876-1877.
Louvre, Paris
Women
33
in a Caf at
Montmartre
type.
EVENEPOEL,
dtail,
on Mono-
Paris
38
(Iturrino),
1899.
FANTIN-LATOUR,
GRICAULT, Thodore
(i 791-1824).
(i9%x24''') Louvre, Paris
The
76
Studio
at
Les
29
Plaster Kiln,
822-1 824.
15
GRIS, Juan
191
5.
Musum
of Art, Philadelphia
94
GUILLAUMIN,
Armand
(i 841-1927).
Montmartre,
(ziViXz^Yz'') Private Collection, Geneva
MANET,
(253/4X32")
MARCOUSSIS,
(15x20^2")
(dtail),
1879.
25
1879.
...
35
Louis
Mme
1865.
1910.
98
MICHEL,
MODIGLIANI, Amedeo
(1884-1920). Portrait of
1917. (3672 X23y2''') Private Collection, Paris
Max
Jacob, 191695
The
Blue
Washington
140
Room,
21'')
1901.
By Courtesy of Mr
11
87
T. E. Hanley,
88
(20x241/2")
Phillips
Collection,
91
PISSARRO,
(21 4x
RENOIR, Auguste
(i
841-19 19).
The Moulin de
la
1879.
48
Galette (dtail),
In a Caf,
Otterlo
39
Rijksmuseum KrUer-Mller,
40
Hon.
43
Munich
45
ROUSSEAU,
SEURAT,
View of Mont12
SEVERINI, Gino
(1883).
Collection, Milan
71
Jesi
loi
Geneva
102
TOULOUSE-LAUTREC,
of the Bus
Line,
Henri de
Place
(i
Clichy,
Collection, Paris
56
59
60
Aristide
1893.
(5oX36y8'0
Poster.
1890.
By
62
Cleyran,
Mr
63
and
67
68
141
UTRILLO,
ca.
191
Galette,
la
108
1.
Terrace in
Rue
Muller,
Bern
Rue
iio
Muller,
1909. (iSy^xi^Vi')
Mr
By
By Courtesy of
The
Lapin
Agile,
(21
191
Courtesy
114
X28%") By Courtesy of
Mr
Grgoire
115
3.
(22%X29y8'0
Private
Collection,
Montreux (Switzerland)
Place
du
117
VAN GOGH,
47
Gogh
Amsterdam
49
By Courtesy of
y*
x 13
1/4")
Le Pre Tanguy,
887-1 888.
118
Galette,
la
Collection,
of
113
Place
Mr
Renoir*s
x 28 y*")
51
Muse Rodin,
Paris
53
....
54
La Guinguette,
ca.
(3 6
y*
VERNET,
VOLLON,
ca. 1920.
(2o3Ax28%'')
121
la
VUILLARD, Edouard
(i
142
21
y4")
from Boule-
Distemper Painting.
82
CONTENTS
INTRODUCTION
II
27
TRANSIT OF VAN
GOGH
46
LAUTREC'S PERAMBULATIONS
MONTMARTRE
57
...
.
73
86
IO9
CONCLUSION
120
I24
SELECTED BIBLIOGRAPHY
I29
INDEX OF NAMES
I5I
LIST OF COLORPLATES
I39
THIS VOLUME
THE SIXTEENTH IN THE COLLECTION
SKiRA
COLOR STUDIO
AT IMPRIMERIES REUNIES
S.A.,
LAUSANNE
MARCH
Renout d
et
Guezelle, Paris
9, II, 15, 16, 20, 21, 22, 23, 24, 29, 30, 31, 48, 54, 56, 59, 60, 79, 81,
Hans Hinz,
by Henry B. Beville, Washington (pages 35, 51, 62, 63, 6y, 68, 75, 84, 8j,
88, 113, 114, 115).
Photograph on page 49 obligingly lent by the magazine Du, Zurich.
PRINTED IN SWITZERLAND
muiiJT
m^E
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DEGAS - CZANNE - RENOIR - GAUGUIN
LAUTREC - VAN GOGH - ROUAULT
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Sacred Heart
basilica, the
Moulin de
la
du
Galette
was
toll-gate, painted
What about
made
by Horace
book
will
in
the
was
guide
of
the
in
this stroll
Romantics
the
Montmartre
Utrillo
Printed
in
Switzerland
knew.