Renoir's Dancer

by Catherine Hewitt

  CHAPTER 10

  1. Georges-Emmanuel Clancier, La Vie quotidienne en Limousin au XIXe siècle (Paris: Hachette, 1976), p. 143.

  2. On the Exposition Universelle, see Maryanne Stevens, ‘The Exposition Universelle: ‘This vast competition of effort, realisation and victories’ in 1900: Art at the Crossroads, exhib. cat. (London: Royal Academy of Arts, 2000), pp. 54–71. P. Morand is cited by Stevens, p. 56.

  3. Stevens, p. 57.

  4. Camille Pissarro, cited in Stevens, p. 59.

  5. Cited in Robert Rosenblum, ‘Art in 1900: Twilight or Dawn?’ in 1900: Art at the Crossroads, exhib. cat. (London: Royal Academy of Arts, 2000), pp. 26–53 (p. 29).

  6. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published 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. 65–131 (p. 83).

  7. Maurice recounted the episode in his autobiography. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published 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. 65–131 (p. 85).

  8. Jean Fabris, Utrillo, sa vie, son oeuvre (Paris: Éditions Frédéric Birr, 1982), p. 30.

  9. On Pablo Picasso’s arrival in Paris, see 1900: Art at the Crossroads, exhib. cat. (London: Royal Academy of Arts, 2000), p. 413. J.P. Crespelle, Montmartre Vivant (Paris: Hachette, 1964), pp. 115–52.

  10. Crespelle, p. 116.

  11. The drawing was sold at Sotheby’s in 2014. See: http://www.sothebys.com/en/auctions/ecatalogue/2014/impressionist-modern-art-evening-sale-n09139/lot.17.html [accessed 10 October 2016].

  12. 1900: Art at the Crossroads, exhib. cat. (London: Royal Academy of Arts, 2000), p. 413.

  13. Ingo F. Walther, Pablo Picasso 1881–1973: Genius of the Century (Greven: Taschen, 1993), pp. 90–1.

  14. An insightful discussion of this work can be found in Thérèse Diamand Rosinsky, Suzanne Valadon (New York: Universe Publishing, 1994), pp. 109–12.

  15. On this work, see Diamand Rosinsky, p. 30.

  16. From a selection of Degas’s letters cited in Suzanne Valadon – 1865–1938, exhib. cat. (Martigny, Switzerland: Fondation Pierre Gianadda, 1996), p. 29.

  17. From a selection of Degas’s letters cited in Suzanne Valadon – 1865–1938, exhib. cat. (Martigny, Switzerland: Fondation Pierre Gianadda, 1996), p. 29.

  18. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published 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. 65–131 (p. 87).

  19. François Gauzi, My Friend Toulouse-Lautrec, trans. by Paul Dinnage (London: Neville Spearman, 1957), p. 95.

  20. Henri Perruchot, Toulouse-Lautrec, trans. by Humphrey Hare (London: Constable and Company Ltd, 1958), p. 277.

  21. Thérèse Diamand Rosinsky, ‘Les multiples identités de Suzanne Valadon: Marie-Clémentine, “Biqui”, ou “Terrible Maria”?’ in Suzanne Valadon – 1865–1938, exhib. cat. (Martigny, Switzerland: Fondation Pierre Gianadda, 1996), pp. 31–53 (pp. 42–3).

  22. Fabris, pp. 28–9. June Rose, Mistress of Montmartre: A Life of Suzanne Valadon (London: Richard Cohen Books, 1998), p. 128.

  23. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published 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. 65–131 (p. 89). On 12, Rue Cortot, see Pierre Imbourg, ‘12, rue Cortot’, Beaux-Arts, 6 January 1939, p. 3.

  24. This work was sold at auction in 1995. The canvas is 81 × 99cm.

  25. Crespelle, p. 157.

  26. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published 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. 65–131 (pp. 89–92).

  27. Robert Coughlan, The Wine of Genius: A Life of Maurice Utrillo (London: Gollancz, 1952), pp. 51–2. Suzanne and Paul Mousis’s marriage certificate is reproduced in Suzanne Valadon – 1865–1938, exhib. cat. (Martigny, Switzerland: Fondation Pierre Gianadda, 1996), p. 250.

  28. On the use of tubes versus ground colour in the 19th century, see Anthea Callen, Techniques of the Impressionists (London: Tiger Books International, 1990), pp. 22–5.

  29. ‘Suzanne Valadon ou l’absolu’, MNAM

  30. Coughlan, p. 51.

  31. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published 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. 65–131 (p. 92).

  32. Rose, p. 129.

  33. Fabris, p. 32.

  34. Claude Wiart, ‘Utrillo le Simple’ in Jean Fabris, Utrillo, sa vie, son oeuvre (Paris: Éditions Frédéric Birr, 1982), pp. 121–46 (p. 130).

  35. Richard Osborne, Freud For Beginners (New York & London: Writers and Readers, 1993), p. 11.

  36. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published 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. 65–131 (p. 93).

  37. The rules stipulated by Sainte-Anne are just legible on a visiting card of 1926, reprinted in Fabris, p. 55.

  38. Wiart, p. 130.

  39. Storm, p. 133.

  40. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published 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. 65–131 (p. 93).

  41. Coughlan, p. 56.

  42. Coughlan, p. 55.

  43. Fabris, p. 31.

  44. Fabris, p. 34.

  45. André Utter, ‘La Carrière de Maurice Utrillo’, Beaux-Arts, 28 October 1938, p. 2.

  46. On Utter, see: Coughlan, pp. 56–7. Crespelle, p. 157. Valadon, Utrillo & Utter à l’atelier de la rue Cortot: 1912–1926, exhib. cat. (Paris: Musée de Montmartre, 2015), p. 119. Association Maurice Utrillo http://www.utrillo.com/fr/node/44 [accessed 15 October 2016].

  47. Crespelle, p. 157.

  48. Fabris, p. 34. Crespelle, p. 163.

  49. Coughlan, p. 63.

  50. Crespelle, pp. 186–7.

  51. Fabris, p. 36.

  52. André Utter, ‘La Carrière de Maurice Utrillo’, Beaux-Arts, 28 October 1938, p. 2.

  53. André Utter, ‘La Carrière de Maurice Utrillo’, Beaux-Arts, 28 October 1938, p. 2.

  54. Crespelle, p. 164.

  CHAPTER 11

  1. Georges-Emmanuel Clancier, La Vie quotidienne en Limousin au XIXe siècle (Paris: Hachette, 1976), p. 143.

  2. Le Figaro, 20 February 1909, p. 1.

  3. Le Figaro, 20 February 1909, p. 1.

  4. On religious art at the turn of the century, see 1900: Art at the Crossroads, exhib. cat. (London: Royal Academy of Arts, 2000), p. 300.

  5. This similarity is highlighted by Jacqueline Munck in ‘La Peinture de Suzanne Valadon: 1909–1914, une passion décisive’ in Valadon, Utrillo & Utter à l’atelier de la rue Cortot: 1912–1926, exhib. cat. (Paris: Musée de Montmartre, 2015), pp. 29–37.

  6. One of the best discussions of this painting is found in Thérèse Diamand Rosinsky, Suzanne Valadon (New York: Universe Publishing, 1994), pp. 84–5.

  7. Letter from Suzanne Valadon to André Utter, held by the MNAM.

  8. Alan Tillier, Paris (London, New York, Stuttgart & Moscow: Dorling Kindersley, 1999), p. 231.

  9. On this work, see Robert Cumming, Art (London, New York, Munich, Melbourne & Delhi: Dorling Kindersley, 2005), pp. 348–9.

  10. Suzanne Valadon, ‘Suzanne Valadon par elle-même’, Promethée (Paris: Editions littéraires de France, March 1939), pp. 53–4.

  11. And
ré Utter archives, MNAM.

  12. André Utter, ‘La Carrière de Maurice Utrillo’, Beaux-Arts, 28 October 1938, p. 2.

  13. On the Salon d’Automne see: http://www.salonautomne.com/en [accessed 4 November 2016]

  14. Louis Vauxcelles, ‘Le Salon d’Automne’, Gil Blas, 1 October 1909, pp. 1–2.

  15. Jean Fabris, Utrillo, sa vie, son oeuvre (Paris: Éditions Frédéric Birr, 1982), p. 35.

  16. This episode is recorded in J.P. Crespelle, Montmartre Vivant (Paris: Hachette, 1964), pp. 167–8.

  17. Crespelle, p. 164.

  18. Fabris, p. 29.

  19. Severini described the building vividly. See Crespelle, p. 194.

  20. Crespelle, p. 196.

  21. On Frédé and his time at the Lapin Agile, see: Crespelle, pp. 126–8. http://montmartre-secret.com/article-frede-le-lapin-agile-et-l-ane-92424120.html [accessed 8 November 2016].

  22. On this work, see: http://www.metmuseum.org/art/collection/search/486162 [accessed 8 November 2016].

  23. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published 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. 65–131 (p. 96).

  24. The proceedings of the hearing are reprinted in Suzanne Valadon – 1865–1938, exhib. cat. (Martigny, Switzerland: Fondation Pierre Gianadda, 1996), p. 252.

  25. On this work, see Thérèse Diamand Rosinsky, Suzanne Valadon (New York: Universe Publishing, 1994) pp. 52–4.

  26. Diamand Rosinsky cites an interview with Geneviève Barrez, 11 September 1992. See Diamand Rosinsky, p. 112.

  27. See ‘Les Carriers de Montmagny’, L’Aurore, 27 September 1909, p. 3.

  28. On this, see June Rose, Modigliani: The Pure Bohemian (London: Constable, 1990), pp. 69–70.

  29. On the jest, see Crespelle, pp. 126–7. ‘Boronali – Aliboron’, Fantasio, 1910, pp. 599–600. http://montmartre-secret.com/article-frede-le-lapin-agile-et-l-ane-92424120.html [accessed 8 November 2016].

  30. ‘Le Salon des Indépendants 25e exposition’, Le Matin, 19 March 1910, p. 4.

  31. ‘Le Tableau de l’âne’, Le Journal du Dimanche, 26 June 1910, p. 402.

  32. The episode was recounted by Jourdain. See Francis Jourdain, Utrillo (Paris: Les Editions Braun & Cie, 1948), pp. 4–5.

  33. Jourdain, pp. 4–5. Fabris, pp. 36–40.

  34. Robert Coughlan, The Wine of Genius: A Life of Maurice Utrillo (London: Gollancz, 1952), p. 60.

  35. Many of Maurice Utrillo’s biographers have recorded this. Maurice himself even wrote this in a letter to André Derain in 1947. This letter is reproduced as an annexe 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. 348–9.

  36. Coughlan, pp. 57–8.

  37. Limoges Illustré, 15 October 1910, p. 1.

  38. On this, see June Rose, Mistress of Montmartre: A Life of Suzanne Valadon (London: Richard Cohen Books, 1998), p. 146.

  39. Limoges Illustré, 15 May 1911, p. 3942.

  40. ‘Au Salon des Indépendants’, La Vie Artistique, April 1911, p. 59.

  41. Maurice wrote about the incident in his autobiography. See Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published 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. 97–8.

  42. One of the best discussions of this piece is found in Diamand Rosinsky, pp. 84–8.

  43. On 12, Rue Cortot, see Pierre Imbourg, ‘12, rue Cortot’, Beaux-Arts, 6 January 1939, p. 3.

  44. Saskia Ooms, ‘Les Artistes-Résidents du 12–14, rue Cortot’, in L’Esprit de Montmartre et L’Art Moderne, 1875–1910, exhib. cat. (Paris: Musée de Montmartre, 2014), pp. 19–20.

  CHAPTER 12

  1. Michel Chadeuil, Expressions et dictons Périgord Limousin (Chamalières: Christine Bonneton, 2015), p. 101.

  2. On 12, Rue Cortot, see Pierre Imbourg, ‘12, rue Cortot’, Beaux-Arts, 6 January 1939, p. 3. Jeanine Warnod, Suzanne Valadon, trans. by Shirley Jennings (Naefels, Switzerland: Bonfini Press, 1981), pp. 65–8.

  3. Warnod, pp. 65–8.

  4. Jean Fabris, Utrillo, sa vie, son oeuvre (Paris: Éditions Frédéric Birr, 1982), pp. 57–9.

  5. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published 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. 65–131 (pp. 110–112).

  6. Maurice Utrillo, cited in Fabris, p. 58.

  7. Libaude to Maurice Utrillo, 18 April 1912, cited in Fabris, p. 40.

  8. Libaude to Maurice Utrillo, cited in Fabris, p. 40.

  9. Fabris, p. 40. The sou was a unit of currency created at the time of the Revolution. It was equal to 5 centimes, or approximately a halfpenny in English currency. See Émile Zola, The Drinking Den, trans. by Robin Buss (London: Penguin Books, 2003), p. 433, note 5.

  10. In 1912, a copy of Le Figaro cost 10 centimes.

  11. Libaude to Maurice Utrillo, cited in Fabris, p. 49.

  12. Fabris, pp. 49–50.

  13. Adolphe Tabarant, ‘Suzanne Valadon et ses souvenirs de modèle’, Bulletin de La Vie Artistique, Paris, December 1921, p. 629.

  14. L’Intransigeant, 18 May 1912, p. 2.

  15. See: http://www.artist-info.com/users/publicpagegallery/19404 [accessed 1 December 2016].

  16. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published 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. 65–131 (p. 103).

  17. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published 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. 65–131 (p. 103).

  18. On the history of fortune telling and the meanings typically assigned to standard playing cards, see Francis X. King, The Encyclopedia of Fortune Telling (London: Octopus Books Ltd, 1988), pp. 30–7.

  19. This is now the Gare de Paris-Montparnasse. Fabris, p. 50.

  20. Adolphe Joanne, Itinéraire général de la France: Normandie (Paris, 1866), pp. 116–19. On the popularity of Normandy and Brittany during the 19th century, see John House, Impressionists by the Sea, exhib. cat. (London: Royal Academy of Arts, 2007), pp. 13–28.

  21. J. Lelarge and E. Bourdon, Petite Histoire de la Bretagne (Paris: Libraire Félix Juven, 1911), p. 1.

  22. André Utter Archives, MNAM.

  23. On Ushant, see http://www.brittanytourism.com/discover-our-destinations/brest-terres-oceanes/unmissable-sites/ushant-and-the-iroise-islands [accessed 2 December 2016].

  24. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published 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. 65–131 (pp. 104–5).

  25. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published 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. 65–131 (p. 105).

  26. Libaude to Maurice Utrillo, 27 July 1912, cited in Fabris, pp. 50–1.

  27. André Utter archives, MNAM.

  28. Libaude to Maurice Utrillo, cited in Fabris, p. 51.

  29. Marie Coca’s grandson, Yves Deneberger spoke about the sitting in an interview with June Rose in August 1996.

  30. On Berthe Weill, see http://www.metmuseum.org/art/libraries-and-research-centers/leonard-lauder-research-center/programs-and-resources/index-of-cubist-art-collectors/weill [accessed 5 December 2016].

  31. On Corsica and its role as a French holiday destination, see Graham Robb, The Discovery of France (Lon
don: Picador, 2008), p. 316.

  32. L. Ravel, La Corse, resources de son sol et de son climat (Paris: Charles Amat, 1911) p. 1.

  33. Michelle Deroyer, Quelques souvenirs autour de Suzanne Valadon (Paris: Fayard, 1947), p. 188.

  34. Deroyer, p. 188.

  35. Deroyer, p. 188.

  36. One of the best analyses of Suzanne’s work in Corsica is found in Thérèse Diamand Rosinsky, Suzanne Valadon (New York: Universe Publishing, 1994), pp. 102–4.

  37. Maurice Utrillo, Histoire de ma jeunesse jusqu’à ce jour, published 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. 65–131 (pp. 106–7).

  38. On Corsican cuisine, see Susan Cope and others, eds, Larousse Gastronomique (London: Mandarin, 1990), pp. 356–7.

  39. Fabris, p. 37. On Augustin Grass-Mick, see http://augustingrass-mick.pagesperso-orange.fr/ [accessed 7 December 2016]. Augustin Grass-Mick also knew Erik Satie. See Ornella Volta, Satie Seen Through his Letters, trans. by Michael Bullock (London: Marion Boyars, 1989), p. 47.

  40. Fabris, p. 58.

  41. Fabris, p. 59.

  42. Fabris, p. 55.

  43. On this work, see Diamand Rosinsky, pp. 88–9. Jaqueline Munck, ‘La Peinture de Suzanne Valadon: 1909–1914, une passion décisive’ in Valadon, Utrillo & Utter à l’atelier de la rue Cortot: 1912–1926, exhib. cat. (Paris: Musée de Montmartre, 2015), pp. 36–7.

  44. Richard Kendall and Jill DeVonyar, Degas and the ballet: Picturing Movement, exhib. cat. (London: Royal Academy of Arts, 2011), pp. 15–16.

  45. La Presse, 4 March 1914, p. 2. Lemouzi, April 1914, p. 190. L’Aurore, 1 March 1914, p. 1.

  46. On Level, see http://www.metmuseum.org/art/libraries-and-research-centers/leonard-lauder-research-center/programs-and-resources/index-of-cubist-art-collectors/level [accessed 15 December 2016].

  47. On Maurice’s sales at this time, see Fabris, pp. 55–9.

  48. On the French mindset in 1914, see: Stéphane Audoin-Rouzeau and Annette Becker, La Grande Guerre 1914–1918 (Paris: Gallimard, 1998), pp. 16–19. James F. McMillan, Twentieth-Century France: Politics and Society 1898–1991 (London, New York, Sydney and Auckland: Arnold, 1992), pp. 58–72.

  49. Ernest Lavisse, La Première année d’histoire de France, cours moyen (Paris: Armand Colin, 1912), p. 246.