Other guests were Leo and Gertrude Stein, Braque, Max Jacob, Apollinaire, Laurencin, Salmon, Raynal and many others. (M. Hoog in Le Douanier ("The Brummer Brothers: An Instinct for the Beautiful", Art News, New York, Oct. 1974, pp. » La muse et le poète » 1909 – le DOUANIER-ROUSSEAU. Indépendants jury had seen it by then, Rousseau knew that they Impressionist & Modern Paintings & Watercolours, Henri Rousseau, called Le Douanier Thus began the relationship which culminated in Brummer commissioning this major portrait from Rousseau early in 1909. Mais c’est alors que, soupçonné de complicité de vol d’œuvres d’art au Louvre, le poète est emprisonné à la Santé durant une semaine. Le tableau est reproduit à la page 53 du numéro du 15 janvier 1914 des Soirées de Paris. Painted in Spring 1909, Joseph Brummer, Paris, 1909 (commissioned from Rousseau and received from the Artist, Three Letters from Rousseau to Brummer in. these canvases are mostly finished in a broad painter-like stroke." Passing references were made by Eon who referred to Rousseau showing, "portraits chaotiques" and by Lestranges who noticed, "délirants portraits d'une naiveté si cocassé." Alfred Jarry, born like Rousseau in Laval, was the first to call Rousseau a primitive and saw distinct parallels in his art with the works of the Italian and Flemish pre-Renaissance primitive artists. Les noirs brillent et vivent dans les milliers de verts qui se groupent en formant arbres, taillis, forêts. His work had been exhibited alongside the Fauves at the Salon d'Automne in 1905 and in 1907 he met the collector and critic Wilhelm Uhde who would write an influential monograph on Rousseau in 1911. cit., p. 586). performances of music and theatrical excerpts by those present. Others present included Brummer, Apollinaire, Delaunay, Soffici, Picasso, Vlaminck, Brancusi, Laurencin, Salmon, Wilhelm Uhde, Serge Férat, Felix Fénéon and many others. ne copie pas l'effet extèrieur d'un arbre; il crée un ensemble Precedents for the pictorial juxtaposition of animals with jungle or exotic locations could be found in the art of Bresdin, Delacroix, Gérome and Ingres, all artists whom Rousseau admired and wished to emulate. Le Rêve du Douanier Rousseau : focus sur un chef-d’œuvre. It is likely that Brummer met Rousseau through the agency of Max Weber, a fellow student at La Grande Chaumière. the purely instinctive and observational art of Impressionism. Giorgio de Chirico, Portrait de Guillaume Apollinaire, 1914, Centre Pompidou, Paris. essaying modern subject matter in a personal rather than a primitive fantasie, avec les changements d'echelle, les 'erreurs' de proportions, les invraisemblances de mise en place, il aboutit à une cohérence Son travail, souvent moqué par les autres artistes et critiques, se fait reprocher son manque de perspective, sa naïveté, en bref son amateurisme. success in handling tribal art in Paris was considerable. construction. of Brummer's portrait which is displayed alongside the still unfinished second version of La Muse inspirant le Poète (Fig. Supplément au voyage de Bougainville, chap. renting a shop at 6 Boulevard Raspail where, alongside the familiar Japanese prints, he displayed the objects of his new passions - African and Oceanic "primitive" sculpture and a few pictures by the "new primitive" Henri Rousseau. in La Muse inspirant le Poète, "la preuve de ton tableau plait, It is a mistake to think of such a setting as merely a decorative convention to fill space. Henri Rousseau, le Douanier, avait proposé à Apollinaire de réaliser son portrait. The renown of the Brummer Gallery for handling works as diverse as sculpture, metalwork and carvings from classical antiquity until the Modern period spread far and wide and the links with major museums were always close. Découvrez vos propres épingles sur Pinterest et enregistrez-les. Télécharger cette image : Henri Rousseau (Le Douanier Rousseau), le poète et sa muse (Guillaume Apollinaire et Marie Laurencin), Paris, 1909, huile sur toile. 2 mai 2018 - Cette épingle a été découverte par Nathan Labat. temps, pour me récréer, car il est bien ennuyeux de poser, Rousseau me chantait les chansons de sa jeunesse." Sitting for Rousseau was an unusual event as Apollinaire was to recall, "J'ai posé un certain nombre de fois chez le Douanier et avant tout Henri Rousseau, dit Le Douanier Rousseau, La Muse inspirant le poète (Guillaume Apollinaire et Marie Laurencin) 1909, huile sur toile, (146 cm x 97 cm), Musée des Beaux-Arts de Bâle. formed the remarkable collection of Negro art assembled by Karl Ernst Afin que tes loisirs sacrés, dans la lumière réelle. Initially working as a stonemason for Rodin in 1907, Certigny relates that to gain entry to Matisse's atelier for instruction, Brummer, Henri Rousseau, le Douanier, avait proposé à Apollinaire de réaliser son portrait. Douanier Rousseau, La muse inspirant le poète, 1909 (portrait de Marie Laurencin et Guillaume Apollinaire). (Henri Rousseau, New York, 1946, p. 55). When his recitals." Rousseau's own symbolist and poetic interests, his flat, archaistic forms and expressive content allied him directly with contemporaneous post-impressionist developments. Guillaume to tribal art, he also sold Greek sculpture to Rodin and Henri Rousseau, Le Rêve 1910, huile sur toile, 204,5 x 298,5 cm, New York, The Museum of Modern Art / Henri Rousseau Commencez votre journée en découvrant une œuvre d'art ! Le poète Guillaume Apollinaire a tracé sur la dalle des vers qui seront ensuite gravés par Constantin Brancusi : Delaunay, sa femme, Monsieur Quéval et moi. II « Les adieux du vieillard », p.142-3 Voltaire, L’Ingénu, Chap. At that time the term primitive equally came to be applied to the artists who were its first discoverers, contributed to the development of an interest in what was called "art nègre" and moreover ensured naïve artist. In contrast, Rousseau saw himself as a completely modern artist I in the modern style" --Guillaume Apollinaire and Robert Delaunay. D. Catton Rich wrote that Rousseau's portrait of Joseph Brummer, "one of the last he did, shows his friend and dealer seated in a wicker chair before a background of trees, closely allied to the extravagant foliage of the jungles. Portrait de Joseph Brummer (Portrait-paysage) When Rousseau exhibited this portrait of Joseph Brummer at the Salon des Indépendants in 1909 he termed it a "portrait-paysage", a genre which Rousseau had initiated with his famous Moi-même, portrait-paysage self-portrait (Certigny 45) which he painted in 1890 and with which he announced to the world his ambition to be considered a grand master of modern painting. In the twenty years preceding the Brummer portrait, Rousseau perfected his technique and artistic conception so that this masterpiece represents the culmination of his portraiture, and draws together the various strands of his art into a distillation which was influential for his avantgarde contemporaries and for subsequent generations of artists. Inspired by his vision he arbitrarily rewove the appearance of nature (Certigny, op. content to humour such an elderly novice. Ses toiles montrent une technique élaborée, mais leur aspect enfantin lui valurent beaucoup de moqueries. For Joseph Brummer it was primarily the exotic qualities in As the other picture being exhibited was La Muse inspirant le Poète, portraying the well-known Apollinaire and Marie Laurencin, it was natural that Brummer's portrait should receive less attention in the as usual less than complimentary notices in the press reviews. This device recalls Rousseau's earlier portrait of Pierre Loti (Certigny 233) where the elements appear more anecdotally disparate than in the more harmonised sense of monumentality which permeates the Brummer portrait. The evening was a symbol of the respect Rousseau engendered amongst the poets, artists and collectors of the Montparnasse circle. The image of Rousseau, the retired "customs officer", as a self-taught Sunday painter was propagated initially by Apollinaire. On 19 or 20 March, the two pictures were at Les Serres de l'Orangerie for the jury to decide on the hanging. since at least 1906 when Rousseau himself was photographed seated on it in front of Les Joyeux Farceurs (Fig. (L'Amour de l'Art, Paris, 1920). He tried to acquire works over a period of several years, and finally succeeded in buying one that became famous: La Carriole du Père Junier [Junier’s Cart]. Henri Julien Félix Rousseau dit le Douanier Rousseau, né le 21 mai 1844 à Laval et mort le 2 septembre 1910 à Paris, est le plus célèbre représentant des peintres naïfs. His work had been exhibited alongside the Fauves at the Salon d'Automne in 1905 and in 1907 he met the collector and critic Wilhelm Uhde who would write an influential monograph on Rousseau in 1911. Rousseau began his painting career under the influence of folk art traditions with their pictures." For Rousseau the landscape element was quite as important as the figure." Douanier Rousseau, La Muse inspirant le Poète. Dans la consécration du Douanier Rousseau, artiste dit « naïf », un rôle déterminant a été joué par un petit groupe d’avant-garde : Guillaume Apollinaire, André Salmon, et plus largement les artistes gravitant autour de l’atelier montmartrois de Picasso, le Bateau-Lavoir. Le Douanier Rousseau. Rousseau's own exotic iconography was one of the features that attracted the young avantgarde artists of the first decade of this century during their drive towards modernism. Since he did not care for attending cafés for Between the Wars when his gallery was established in New York, Joseph Brummer was instrumental in shaping the collections of celebrated collectors such as Frank Burty Haviland, W. Randolph Hearst, Bradley Martin, Greville Winthrop, Henry Walters and many others. Some of the outstanding acquisitions made by these museums in the twenties, thirties and forties owed their rediscovery to the extraordinarily sensitive 'Brummer eye'. Spesso classificato come un artista naïf, è stato uno dei precursori dell'arte moderna e ispirazione per molti artisti tra cui Picasso, Apollinaire, Delaunay, Kandinsky, Ernst e De Chirico. long discussions with his younger artistic colleagues, he started his Aujourd'hui, avec le Rêve, une icône du Surréalisme, partez en exploration dans les jungles imaginaires du Douanier Rousseau, mort le 2 septembre 1910. Le grand coloriste, il va de soi, le dispensa de cette besogne, et l'admit gracieusement parmi ses élèves" (op. In Paris he left the gallery at Faubourg St. exotic sculptures of African tribal art and the archaic forms of It was for Apollinaire the qualities of his work that made his painting "so charming to look at". Although this aspect also brought him the label of being a primitive, and therefore apart from the avantgarde circle, he was actually very much in the mainstream of post-impressionist developments. Henri Julien Félix Rousseau dit le Douanier Rousseau, né le 21 mai 1844 à Laval et mort le 2 septembre 1910 à Paris, est le plus célèbre représentant des peintres naïfs. On 2 May 1909, after the closure of the Indépendants, Brummer's portrait was brought back to Rousseau's studio where it remained for at least a month before Brummer paid and took collection. Guillaume Apollinaire dit, lors du salon d’Automne ou Le Douanier Rousseau présente Le Rêve : « cette année, personne ne rit, tous sont unanimes : ils admirent. Henri Rousseau (Le Douanier Rousseau), The poet and his muse (Guillaume Apollinaire & Marie Laurencin), paris, 1909, oil on canvas. urgency to complete it since he intended to exhibit the picture at the Salon des Indépendants. Apollinaire connaît le succès en 1910 avec un recueil de contes étranges intitulé l’Hérésiaque et Cie, puis avec Le Bestiaire ou Cortège d’Orphée en 1911. cit., p. 64). Cette exposition souhaite explorer l’univers mental et esthétique d’Apollinaire à travers un parcours thématique : du Douanier Rousseau à Matisse, Picasso, Braque ou Delaunay, du cubisme à l’orphisme et au surréalisme, des sources académiques à la modernité, des arts premiers aux arts populaires. his avantgarde contemporaries and from the Salon artists he so Mai 1844 in Laval; 2. September 1910 in Paris) war ein autodidaktischer französischer Maler, dessen Stil dem Postimpressionismus und der Naiven Kunst zugeordnet wird. 2015 Francia. the great Cézanne memorial exhibition of 1907 at which Rousseau Apollinaire hat Henri Rousseau den „Uccello unseres Jahrhunderts“ genannt. il mesura mon nez, ma bouche, mes oreilles, mon front, mes mains, mon Hab… His enthusiasm for his subject stretched beyond dealing in its artefacts to organising pioneering exhibitions of tribal art in Immediately Brummer became one of the first (and one of the very few) dealers or collectors to buy pictures directly from Rousseau. A contemporary photograph shows Rousseau standing proudly, palette in hand, in front Dans la consécration du Douanier Rousseau, artiste dit « naïf », un rôle déterminant a été joué par un petit groupe d’avant-garde : Guillaume Apollinaire, André Salmon, et plus largement les artistes gravitant autour de l’atelier montmartrois de Picasso, le Bateau-Lavoir. Twitter. “You recall, Rousseau, the Aztec landscape the forests where mango and pineapple grow. rapports inégaux. Issu d’une famille modeste, il a pendant toute sa vie eu du mal à trouver sa place au milieu de la scène artistique contemporaine. Paudrat writes, "It was Joseph Brummer who, beyond the small group of Commencez votre journée en découvrant une œuvre d'art ! style...Rousseau's technique has now become free and without apparent Museum, Moscow; and Certigny 277, Kunstmuseum, Basle). Rousseau, Paris, 1985, p. 235). d'Avignon period Rousseau remarked, "You, Pablo and I are the two Henri Rousseau, Le Rêve 1910, huile sur toile, 204,5 x 298,5 cm, New York, The Museum of Modern Art / Henri Rousseau. Shchukin Collectio . "Many art objects were obtained for the Metropolitan (over 400 objects), The Cloisters, the Louvre and other leading museums in America and Europe. suggestion; "Pour pouvoir travailler d'après le modèle à l'Academie Matisse il proposa, en paiement, de balayer l'atelier. Er gilt als einer der Wegbereiter des Surrealismus. On 6 Like Gauguin, Rousseau came to full-time painting late in life in 1885, at the age of forty. cit., p. 586). signed and dated lower left H Rousseau 1909, oil on canvas artistic conception was perceived as being closely allied in spirit. Like Gauguin, Rousseau came to full-time painting late in life in 1885, at the age of forty. Son inspiration provient surtout de livres illustrés, de jardins botaniques et rencontres avec des soldats ayant participé à l'intervention française au Mexique. Laisse passer nos bagages en fraude à la porte du ciel. celebrated "Banquet du Douanier Rousseau" in honour of Rousseau at his studio in Le Bateau Lavoir in November 1908. Facebook. Shchukin Collectio 'Portrait de femme', 1895, Le Douanier Rousseau (Henri Rousseau, dit), Picasso Museum, Paris, France, Europe. multiplie les contrastes en additionnant les gammes de vert d'une Henri Rousseau (1844–1910) fut un peintre autodidacte, souvent qualifié de naïf et moqué par ses contemporains, mais admiré par les avant-gardes du XXe siècle. As only the greatest artists of the age, you in the Egyptian style and I in the He made some 26 jungle pictures in all, mainly executed between 1904-1910. Tous décèlent dans l’œuvre de ce « Giotto moderne » … Il apprend lui-même la peinture et produit un grand nombre de toiles, elles représentent souvent des paysages de jungle, lui qui n'a pourtant jamais quitté la France. Rousseau's art that appealed, "Pour ce Magyar [Brummer], le Douanier Henri Julien Félix Rousseau, dit Le Douanier Rousseau, La Muse (Marie Laurencin) inspirant le poète (Guillaume Apollinaire), 1908-1909, huile sur toile, Moscou, musée d’État des Beaux-Arts Pouchkine. "Rousseau réinventé sa flore, et ne fournit en aucune façon la description d'un paysage plausible. somewhat simplistic and contributory in part to the myth-making with (op. By 1908 Rousseau had become a celebrated figure in the Montparnasse feature of the last few years of his life. own "soirées familiales et artistiques" which became a regular Son œuvre très ambitieuse, qui recouvre aussi bien le genre historique que le portrait et le paysage, est peuplée de visions exotiques dont la poésie a séduit des personnalités comme André Breton, Pablo Picasso, Alfred Jarry ou Félix Va… In his portrait-paysages the model, often seen full-length, is rendered with great clarity and placed against a landscape background which is generally appropriate to the sitter in both nature and sentiment, and complementary to the pictorial structure of the composition. Taxé de naïf, il n’en est pas moins admiré par les avant-gardes parmi lesquelles Pablo Picasso – collectionneur de la première heure – ou Guillaume Apollinaire. This was probably in 1908. Osthaus. It appears that the picture was painted in the spring of 1909 in Pendant ce Cela lui vaut le surnom de « douanier ». who was short of money to pay for the lessons, came up with a novel avantgarde circles. Paul Guillaume probably discovered the Douanier Rousseau’s paintings through his friend the poet and art critic Guillaume Apollinaire (1880-1918). Apollinaire Le douanier Rousseau. Hungarian by birth, Joseph Brummer (1883-1947) arrived in Paris in the first years of this century to pursue a career as a sculptor. Rousseau also asked Brummer to come to the vernissage with him on 25 March, two days later. Né à Laval dans une famille pauvre, Henri Rousseau s’engage dans l’armée. In later years, Brummer was still excited by the picture and remarked "Jamais une oeuvre d'art ancienne ou moderne, n'est passé entre mes mains, qui surpassat cette qualité de noirs." The 1890s saw a reaction against Honoré in the hands of his younger brothers, Ernest and Imre, who had come over from Hungary to join Joseph in 1908. Apollinaire est également un critique d'art et fut parmi les premiers défenseurs de l'œuvre de Rousseau caractéristique de l'art naïf. Joseph's initial ). preoccupation with high surface finish, minute precision and rigid La muse inspirant le poète est un double portrait de Guillaume Apollinaire et de sa muse Marie Laurencin, réalisé en 1909 par le Douanier Rousseau.Apollinaire est également un critique d'art et fut parmi les premiers défenseurs de l'œuvre de Rousseau caractéristique de l'art naïf. I in the modern style" --Guillaume Apollinaire and Robert Delaunay. Il care for tribal or classical art but his simplicity and innocence of Joseph Brummer also indulged his passion for modern painting by bringing to the New York gallery during the twenties and thirties exhibitions by Brancusi, Derain, Laurens, Matisse, Rouault and Seurat. The image of Rousseau, the retired "customs officer", as a self-taught Sunday painter was propagated initially by Apollinaire. Apollinaire made clear the great esteem held by the Cubist painters for his works, calling Rousseau the "Inhabitant of Delight".