14. Lethève, p. 80.
15. On the market, see Lethève, p. 80.
16. Richard R. Brettell and Caroline B. Brettell, Painters and Peasants in the Nineteenth Century (Geneva: Skira, 1983), pp. 75–76.
17. On these stories, see John Storm, The Valadon Drama: The Life of Suzanne Valadon (New York: E.P. Dutton & Co., Inc., 1959), p. 56. June Rose, Mistress of Montmartre: A Life of Suzanne Valadon (London: Richard Cohen Books, 1998), pp. 41–2.
18. Rose, p. 41.
19. André Michel, Puvis de Chavannes (London: William Heinemann, 1912), p. vii.
20. The Correspondence of Berthe Morisot, ed. by Kathleen Adler and Tamar Garb (London: Camden Press Ltd, 1986), p. 141.
21. The Correspondence of Berthe Morisot, ed. by Kathleen Adler and Tamar Garb (London: Camden Press Ltd, 1986), p. 40. André Utter archives, MNAM.
22. The Correspondence of Berthe Morisot, ed. by Kathleen Adler and Tamar Garb (London: Camden Press Ltd, 1986), p. 171.
23. For a brief biography of Puvis de Chavannes, see L’Art en France sous le Second Empire, exhib. cat. (Paris: Éditions de la Réunion des musées nationaux, 1979), p. 400.
24. The Correspondence of Berthe Morisot, ed. by Kathleen Adler and Tamar Garb (London: Camden Press Ltd, 1986), p. 180.
25. Cited in J.L. Shaw, ‘Frenchness, Memory and Abstraction: The Case of Pierre Puvis de Chavannes’ in Nationalism and French Visual Culture, ed. by J. Hargrove and N. McWilliam (New Haven and London: Yale University Press, 2005), p. 153.
26. Adolphe Tabarant, ‘Suzanne Valadon et ses souvenirs de modèle’, Bulletin de La Vie Artistique, Paris, December 1921, p. 628.
27. On a model’s day, see Le Roux, pp. 73–5.
28. Tabarant, p. 628. In a letter to Berthe Morisot, Puvis complains about the heat of the studio in the summer. See The Correspondence of Berthe Morisot, ed. by Kathleen Adler and Tamar Garb (London: Camden Press Ltd, 1986), p. 87.
29. Lethève, pp. 79–80.
30. Waller, p. 58.
31. George du Maurier, Trilby (Hertfordshire: Wordsworth Editions Ltd, 1995), p. 97.
32. On this work, see Michel, pp. 67–8.
33. Tabarant, p. 628.
34. The Correspondence of Berthe Morisot, ed. by Kathleen Adler and Tamar Garb (London: Camden Press Ltd, 1986), p. 133.
35. In 1898, she became his wife. Both Puvis and the Princesse then died the same year.
36. Michel, pp. 65–6.
37. Waller, p. 47.
38. On the gossip, see Storm, pp. 56–61.
39. Tabarant, p. 628.
40. Cited in Lethève, p. 78.
41. Jeanine Warnod, Suzanne Valadon, trans. by Shirley Jennings (Naefels, Switzerland: Bonfini Press, 1981), p. 30.
42. Jean-Jacques Henner, Melancholy, date unknown. Warnod, p. 30. On the painters Marie-Clémentine posed for, see Rose, p. 46.
43. Gustav Wertheimer produced several paintings on this theme during the 1880s. It is unknown how many of these Maria posed for.
CHAPTER 5
1. Michel Chadeuil, Expressions et dictons Périgord Limousin (Chamalières: Christine Bonneton, 2015), p. 99.
2. http://www.elysee-montmartre.com/historique [accessed 14 February 2016]
3. François Gauzi, My Friend Toulouse-Lautrec, trans. by Paul Dinnage (London: Neville Spearman, 1957), p. 34.
4. H.A. de Conty, Paris en poche – Guide pratique Conty, 6th edn (Paris, 1875), p. 264.
5. John House, Impressionism: Paint and Politics (New Haven and London: Yale University Press, 2004), p. 142.
6. On the Moulin de la Galette, see Robert L. Herbert, Impressionism: Art, Leisure, and Parisian Society (New Haven and London: Yale University Press, 1988), pp. 133–9.
7. John House, Impressionism: Paint and Politics (New Haven and London: Yale University Press, 2004), p. 141.
8. Conty, p. 28.
9. On cafés, see Herbert, pp. 59–76.
10. Conty, pp. 28–9.
11. Conty, pp. 28–9.
12. On absinthe, see Susan Cope and others, eds, Larousse Gastronomique (London: Mandarin, 1990), p. 3. See also Herbert, pp. 74–5.
13. Alfred Delvau, Histoire anecdotique des café et des cabarets de Paris (Paris, 1862), cited in Herbert, p. 74.
14. On the Lapin Agile, see http://www.au-lapin-agile.com/ [accessed 20 April 2016]. See also June Rose, Mistress of Montmartre: A Life of Suzanne Valadon (London: Richard Cohen Books, 1998), p. 45.
15. Interview with Christiane Barny Duditlieu who attended the Lapin Agile in her youth.
16. On the café and the regular patrons, see Pamela Todd, The Impressionists’ Table (London: Pavilion Books Limited, 1997), pp. 52–7.
17. George Moore, Confessions of a Young Man (Middlesex: Penguin Books, 1939), pp. 90–1.
18. Todd, pp. 52–7.
19. On café-concerts and these restrictions, see Herbert, pp. 66–82.
20. Conty, p. 30.
21. On Salis, see François Gauzi, My Friend Toulouse-Lautrec, trans. by Paul Dinnage (London: Neville Spearman, 1957), pp. 45–51. See also Henri Perruchot, Toulouse-Lautrec, trans. by Humphrey Hare (London: Constable and Company Ltd, 1958), p. 87.
22. Perruchot, p. 87.
23. Bernard Gendron, Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde (Chicago: University of Chicago Press, 2002), pp. 37–9. Perruchot, p. 87.
24. Gendron, pp. 37–9.
25. On Le Chat Noir, see John Storm, The Valadon Drama: The Life of Suzanne Valadon (New York: E.P. Dutton & Co., Inc., 1959), p. 63. Rose, pp. 46–7. Perruchot, p. 87.
26. Cited in Phillip Dennis Cate, ‘L’Esprit de Montmartre et l’art moderne, 1875–1910’ in L’Esprit de Montmartre et l’Art Moderne 1875–1910, exhib. cat. (Paris: Musée de Montmartre, 2014), pp. 23–40 (p. 25).
27. Gauzi, p. 46.
28. Gauzi, pp. 45–6.
29. On Le Chat Noir’s clientele, see Perruchot, p. 87. Rose, pp. 47–50.
30. Gauzi, p. 47.
31. Perruchot, p. 87.
32. On Bruant, see Gauzi, pp. 54–6. Perruchot, pp. 96–8.
33. Sophie Krebs, ‘Montmartre, colline inspirée?’ in Valadon Utrillo: Au tournant du siècle à Montmartre – de l’Impressionisme à l’École de Paris, exhib. cat. (Paris: Pinacothèque de Paris, 2009), pp. 37–47(p. 44).
34. On this prank, see Rose, p. 47.
35. Reported in Le Figaro, 30 August 1882, p. 7.
36. Rose, pp. 50–1. Jeanine Warnod, Suzanne Valadon, trans. by Shirley Jennings (Naefels, Switzerland: Bonfini Press, 1981), p. 13.
37. On Maria’s lovers, see Storm, p. 55.
38. On Miguel, see: Catherine Banlin Lacroix, ‘Miguel Utrillo i Morlius’, in Jean Fabris, Utrillo, sa vie, son oeuvre (Paris: Éditions Frédéric Birr, 1982), pp. 13–16. Storm, pp. 64–5.
39. Storm, p. 64.
40. Storm, p. 64.
41. Cited in Banlin Lacroix, p. 13.
42. Cited in Banlin Lacroix, p. 13.
43. On Zando, see Post-Impressionism: Cross Currents in European Painting, exhib. cat. (London: Royal Academy of Arts, 1979), p. 251. Gauzi, p. 69. Perruchot, p. 93.
44. Post-Impressionism: Cross Currents in European Painting, exhib. cat. (London: Royal Academy of Arts, 1979), p. 251.
45. L’Art en France sous le Second Empire, exhib. cat. (Paris: Éditions de la Réunion des musées nationaux, 1979), p. 403.
46. Colin B. Bailey, Renoir’s Portraits (New Haven and London: Yale University Press, 1997), p. 6.
47. Jean Renoir, Renoir, My Father, trans. by Randolph and Dorothy Weaver (London: The Reprint Society Ltd, 1962), p. 31.
48. House, p. 188.
49. Barbara Ehrlich White, Renoir: His Life, Art, and Letters (New York: Abrams, 1984), p. 105.
50. On Renoir’s travels, see White, pp. 105–28.
51. Bailey, p. 200.
52. Warnod, p. 33.
53. Gustave Coquiot, Renoir (Paris: Albin Michel, 1925), p. 95.
54. Renoir, p. 80.
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55. Renoir, pp. 83–4.
56. Gloria Groom, and others, L’Impressionisme et la mode, exhib. cat. Musée d’Orsay (Paris: Skira/Flammarion, 2013), p. 93.
57. Coquiot, p. 97.
58. Adolphe Tabarant, ‘Suzanne Valadon et ses souvenirs de modèle’, Bulletin de La Vie Artistique, Paris, December 1921, pp. 626–7. Coquiot, pp. 87–96.
59. Post-Impressionism: Cross Currents in European Painting, exhib. cat. (London: Royal Academy of Arts, 1979), p. 171.
60. Renoir, p. 79.
61. Rose, p. 60.
62. On Renoir’s background, see Bailey, p. 104.
63. Mme Blanche to Dr Blanche, cited in White, p. 107.
64. Renoir, p. 87.
65. Coquiot, pp. 88, 96–7.
66. Bailey, p. 201.
67. Bailey, p. 201.
68. Coquiot, p. 96. Bailey, p. 201.
69. Tabarant, p. 627.
70. The sources of gossip are eloquently summarised by June Rose. Rose, p. 60.
71. Jean-Paul Crespelle, Montmartre vivant (Paris: Hachette, 1964), p. 163.
72. On the name changes, see: John House and Anne Distel, Renoir, exhib. cat. (London: Hayward Gallery, 1985), p. 236. Bailey, p. 200.
73. John House and Anne Distel, Renoir, exhib. cat. (London: Hayward Gallery, 1985), p. 236. Bailey, p. 200.
74. Tabarant, p. 627.
75. André Utter Archives, MNAM.
76. Jean-Paul Crespelle, Montmartre vivant (Paris: Hachette, 1964), p. 163.
77. Crespelle, p. 163.
78. On Renoir’s views on women, see Renoir, pp. 78–91.
CHAPTER 6
1. Georges-Emmanuel Clancier, La Vie quotidienne en Limousin au XIXe siècle (Paris: Hachette, 1976), p. 143.
2. Rachel Fuchs, Abandoned Children: Foundlings and Child Welfare in 19th-Century France (Albany: State University of New York Press, 1984), p. 174.
3. Émile Zola, The Drinking Den, trans. by Robin Buss (London: Penguin Books, 2003), p. 18.
4. For a useful summary of 19th-century contraceptives, see Virginia Rounding, Grandes Horizontales: The Lives and Legends of Four 19th-Century Courtesans (London: Bloomsbury, 2003), pp. 21–2.
5. John Storm, The Valadon Drama: The Life of Suzanne Valadon (New York: E.P. Dutton & Co., Inc., 1959), p. 62.
6. Catherine Banlin Lacroix, ‘Miguel Utrillo i Morlius’, in Jean Fabris, Utrillo, sa vie, son oeuvre (Paris: Éditions Frédéric Birr, 1982), pp. 13–16 (p. 13).
7. John House and Anne Distel, Renoir, exhib. cat. (London: Hayward Gallery, 1985), p. 236. Colin B. Bailey, Renoir’s Portraits (New Haven and London: Yale University Press, 1997), p. 200.
8. Storm, p. 71.
9. John House, Impressionism: Paint and Politics (New Haven and London: Yale University Press, 2004), p. 203. On Renoir’s Guernsey pictures, see John House, Renoir in Guernsey (Guernsey: Guernsey Museum & Art Gallery, 1988). In fact, this was almost certainly a studio picture, for which studies for the background were completed on Guernsey, probably at Moulin Huet, and the figure added later in Paris. As John House remarks, ‘the figure is not placed in a legible spatial relationship with what lies behind it.’ House, Renoir in Guernsey, p. 14. We know Renoir was struggling to find a model at the time it was produced, so it seems likely that he may have drawn on earlier nude studies made of Maria before she fell pregnant. Maria referred to posing for nudes in the garden in the Rue de la Barre. See Adolphe Tabarant, ‘Suzanne Valadon et ses souvenirs de modèle’, Bulletin de La Vie Artistique, Paris, December 1921, pp. 626–7.
10. On this incident, see Storm, p. 97.
11. Robert Beachboard, La Trinité maudite (Paris, 1952), p. 23.
12. Storm, p. 66.
13. Storm, p. 93.
14. Suzanne Valadon, ‘Suzanne Valadon ou l’absolu’, n.d., MNAM.
15. On Impressionism in the 1880s, see House, Impressionism: Paint and Politics, pp. 187–206. An excellent overview of this period and other movements can be found in: Post-Impressionism: Cross Currents in European Painting, exhib. cat. (London: Royal Academy of Arts, 1979).
16. Jeanine Warnod, Suzanne Valadon, trans. by Shirley Jennings (Naefels, Switzerland: Bonfini Press, 1981), p. 21.
17. Storm, pp. 66–67.
18. Warnod, p. 21. Jean Fabris, Utrillo, sa vie, son oeuvre (Paris: Éditions Frédéric Birr, 1982), p. 6.
19. Cited in Barbara Ehrlich White, Renoir: His Life, Art, and Letters (New York: Abrams, 1984), p. 145.
20. Warnod, p. 32.
21. June Rose, Mistress of Montmartre: A Life of Suzanne Valadon (London: Richard Cohen Books, 1998), pp. 43–4.
22. On Seurat and the Salon des Artistes Indépendants, see: John Rewald, Seurat (London: Thames and Hudson, 1990), p. 53. John Leighton, Richard Thompson and others, Seurat and The Bathers (London: National Gallery Publications Limited, 1997), p. 124.
23. The Société des Artistes Indépendants is still active. See: www.artistes-independants.fr
24. Jules Claretie, Le Temps, 16 May 1884, p. 3.
25. ‘Le Salon de 1884’, Le Figaro, 30 April 1884, p. 1.
26. Some studies spell Toulouse-Lautrec’s full surname Montfa rather than Monfa. I have adopted the form used in Unpublished Correspondence of Henri de Toulouse-Lautrec, ed. by Lucien Goldschmidt and Herbert Schimmel (London: Phaidon, 1969).
27. One of the best biographies of Henri de Toulouse-Lautrec remains Henri Perruchot, Toulouse-Lautrec, trans. by Humphrey Hare (London: Constable and Company Ltd, 1958).
28. François Gauzi. See François Gauzi, My Friend Toulouse-Lautrec, trans. by Paul Dinnage (London: Neville Spearman, 1957), p. 1.
29. Perruchot, p. 71.
30. It is now widely believed that Lautrec suffered from pycnodysostosis, though the possible diagnoses of osteopetrosis, achondroplasia and osteogenesis imperfecta have also been suggested. Inbreeding is believed to have played a part in his condition. On Lautrec’s deformity, see Perruchot, pp. 51–3. For recent discussions of his deformity, see: Armand Marie Leroi, ‘Noble Figure’, The Guardian (Saturday 20 November 2004), https://www.theguardian.com/books/2004/nov/20/featuresreviews.guardianreview33 [accessed 23 June 2016]; Natalie Angier, ‘What Ailed Toulouse-Lautrec? Scientists Zero In on a Key Gene’, The New York Times (6 June 1995), http://wwwn.ytimes.com/1995/06/06/science/what-ailed-toulouse-lautrec-scientists-zero-in-on-a-key-gene.html [accessed 23 June 2016].
31. Perruchot, p. 53.
32. On Lautrec’s eyes, see Gauzi, p. 27.
33. Gauzi, p. 10.
34. Gauzi, p. 10.
35. Perruchot, p. 45.
36. Perruchot, p. 47.
37. Unpublished Correspondence of Henri de Toulouse-Lautrec, ed. by Lucien Goldschmidt and Herbert Schimmel (London: Phaidon, 1969), Letter 25, August–September 1879, p. 51.
38. Gauzi, p. 27.
39. Gauzi, p. 27.
40. Unpublished Correspondence of Henri de Toulouse-Lautrec, ed. by Lucien Goldschmidt and Herbert Schimmel (London: Phaidon, 1969), Letter 66, January 1885, pp. 87–8.
41. On this, see Gauzi, pp. 59–60.
42. Gauzi, pp. 69–70.
43. Perruchot, pp. 58–9.
44. Perruchot, p. 53.
45. Gauzi, p. 59.
46. On this work, see Gauzi, pp. 61–2.
47. Rose, p. 71.
48. Perruchot, pp. 92–3.
49. Cited in Perruchot, p. 93.
50. Perruchot, p. 95.
51. Gauzi, pp. 54–5.
52. Perruchot, p. 97.
53. Perruchot, p. 126.
54. Maria speaking to art student Geneviève Camax-Zoegger, cited in Rose, p. 71.
55. Gauzi, p. 70.
56. Gauzi, p. 70.
57. Unpublished Correspondence of Henri de Toulouse-Lautrec, ed. by Lucien Goldschmidt and Herbert Schimmel (London: Phaidon, 1969), Letter 79, spring 1886, p. 98.
58. Perruchot, p. 111.
59. Gauzi, p. 71.
60. Gauzi recounted this episode. See Gauzi, pp. 70–1.
62. Gauzi, p. 27.
CHAPTER 7
1. Michel Chadeuil, Expressions et dictons Périgord Limousin (Chamalières: Christine Bonneton, 2015), p. 178.
2. Le Figaro, 23 September 1886, p. 1.
3. See Maria’s letter to Marie-Alix, Collection Madame Jeanette Anderfuhren, Pétridès Gallery, Paris. Cited in June Rose, Mistress of Montmartre: A Life of Suzanne Valadon (London: Richard Cohen Books, 1998), pp. 102–4.
4. François Gauzi, My Friend Toulouse-Lautrec, trans. by Paul Dinnage (London: Neville Spearman, 1957), p. 12.
5. Theo cited in Ingo F. Walther and Rainer Metzger, Vincent van Gogh: The Complete Paintings, trans. by Michael Hulse, 2 vols (Los Angeles: Taschen, 2010), vol. I, p. 228.
6. On Van Gogh’s arrival at Cormon’s see Gauzi, pp. 12–14.
7. On Anquetin, see Post-Impressionism: Cross Currents in European Painting, exhib. cat. (London: Royal Academy of Arts, 1979), pp. 28–9. Henri Perruchot, Toulouse-Lautrec, trans. by Humphrey Hare (London: Constable and Company Ltd, 1958), pp. 73–6.
8. On Bernard, see Post-Impressionism: Cross Currents in European Painting, exhib. cat. (London: Royal Academy of Arts, 1979), pp. 31–44. Perruchot, pp. 107–8.
9. Perruchot, p. 106.
10. Walther and Metzger, vol. I, p. 294.
11. On this project, see Walther and Metzger, vol. II, pp. 710–11.
12. Vincent van Gogh met Paul Gauguin at the end of 1887, when Gauguin arrived in Paris from Pont-Aven. See The Letters of Vincent van Gogh, ed. by Ronald de Leeuw, trans. by Arnold Pomerans (London: Penguin Books, 1996), pp. xxix–xxx.
13. Perruchot, pp. 116–17.
14. Gauzi, p. 95.
15. Henri de Toulouse-Lautrec and Maurice Joyant, The Art of Cuisine, trans. by Margery Weiner (New York, Chicago and San Francisco: Holt, Rinehart and Winston, 1966), pp. 153, 156.
16. Perruchot, p. 120.
17. Gauzi, p. 90. Susan Cope, and others, eds, Larousse Gastronomique (London: Mandarin, 1990), pp. 1313–14.
18. The Letters of Vincent van Gogh, ed. by Ronald de Leeuw, trans. by Arnold Pomerans (London: Penguin Books, 1996), Vincent van Gogh to Theo van Gogh, July 1885, pp. 306–7.
19. Recounted in Perruchot, pp. 120–1. Suzanne Valadon cited in Nino Frank, Montmartre ou les enfants de la folie (Paris: Calmann-Levy, 1956), cited in June Rose, Mistress of Montmartre: A Life of Suzanne Valadon (London: Richard Cohen Books, 1998), p.77
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