In Paris he left the gallery at Faubourg St. 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]. 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 It is a mistake to think of such a setting as merely a decorative convention to fill space. parâit avoir été une sorte de nègre blanc, puisqu'il étendait à ses oeuvres son goût des idoles africaines." While the Brummer portrait cannot be considered a jungle picture it is interesting that as a background for the "art nègre" dealer Rousseau has selected a rich tapestry of variegated trees, foliage and fauna. At that time the term primitive equally came to be applied to the 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. I, « Comment le prieur de Notre Dame de la Montagne et Mademoiselle sa sœur rencontrèrent un Huron », p. 116-117 Analyse d’image : Henri Rousseau (dit le douanier), Forêt vierge au soleil couchant ou Nègre attaqué par un léopard, p. 144. performances of music and theatrical excerpts by those present. 2015 Francia. "[...] un curieux tableau du même douanier Rousseau, une sorte d'apothéose de Guillaume Apollinaire avec, au second plan, une vieiile Marie Laurencin, en guise de Muse. temps, pour me récréer, car il est bien ennuyeux de poser, Rousseau me chantait les chansons de sa jeunesse." Impressionist & Modern Paintings & Watercolours, Henri Rousseau, called Le Douanier (Henri Rousseau, New York, 1946, p. 55). avantgarde circles. celebrated "Banquet du Douanier Rousseau" in honour of Rousseau at his studio in Le Bateau Lavoir in November 1908. « Modeste employé des douanes Henri Julien Félix Rousseau, dit Le Douanier Rousseau (1844-1910), autodidacte devenu peintre sur le tard, célébré par Alfred Jarry, Apollinaire, Picasso, Robert et Sonia Delaunay, ou Kandinsky, est aujourd’hui reconnu comme l’une des figures les plus originales de l’art de la fin du XIXème et du début du XXème siècle. which Apollinaire built up the public conception of Rousseau as the greatest artists of the age, you in the Egyptian style and I in the Afin que tes loisirs sacrés, dans la lumière réelle. sur sa toile, les réduisant à la dimension du chassis. labour. rapports inégaux. The insouciant manner in which Brummer holds his cigarette in his right hand adds a bohemian element to the general air of shrewd respectability Brummer radiates. Like Gauguin, Rousseau came to full-time painting late in life in 1885, at the age of forty. Hab… (M. Hoog in Le Douanier Brummer was responsible for introducing Apollinaire and Paul While he was too poor to enrol in formal lessons Rousseau always had a healthy respect for the traditions and teachings of the Salon artists. 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. 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. In contrast, Rousseau saw himself as a completely modern artist Shchukin Collectio . Henri Rousseau est né en 1844 à Laval. ; Certigny 237). This other portrait is obviously the portrait of Brummer. naïve artist. artists who were its first discoverers, contributed to the development of an interest in what was called "art nègre" and moreover ensured Paris, Les Grandes Serres de l'Orangerie. Apollinaire hat Henri Rousseau den „Uccello unseres Jahrhunderts“ genannt. Rousseau's own symbolist and poetic interests, his flat, archaistic forms and expressive content allied him directly with contemporaneous post-impressionist developments. (Certigny, op. I in the modern style" --Guillaume Apollinaire and Robert Delaunay. Douanier Rousseau, La Muse inspirant le Poète. Aujourd'hui, avec le Rêve, une icône du Surréalisme, partez en exploration dans les jungles imaginaires du Douanier Rousseau, mort le 2 septembre 1910. urgency to complete it since he intended to exhibit the picture at the Salon des Indépendants. Facebook. Picasso collected several works by Rousseau and was later to call the Portrait de Femme (Certigny 75) which he owned, "une oeuvre de penetration, de décision et de clarté françaises...l'un des portraits psychologiques français les plus revélateurs." Henri Rousseau (Le Douanier Rousseau), The poet and his muse (Guillaume Apollinaire & Marie Laurencin), paris, 1909, oil on canvas. supérieure, tout comme chez les surréalistes ses admirateurs." The image of Rousseau, the retired "customs officer", as a self-taught Sunday painter was propagated initially by Apollinaire. 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. Brummer did not keep his portrait for more than three years as he left Paris in 1912 to go to New York to open an art gallery which was later to become world famous. Few artists had been mocked during their lifetime as Rousseau, and even fewer had faced with equal calm the hail of insults. 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. admired. Immediately Brummer became one of the first (and one of the very few) dealers or collectors to buy pictures directly from Rousseau. cit., p. 64). content to humour such an elderly novice. of conception. His enthusiasm for his subject stretched beyond dealing in its artefacts to organising pioneering exhibitions of tribal art in When his 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. For Rousseau the landscape element was quite as important as the figure." (completed by 1912 but not published until 1915). J.-L. construction. The image of Rousseau, the retired "customs officer", as a self-taught Sunday painter was propagated initially by Apollinaire. On 23 March, Rousseau asked Brummer for the money to pay for the frame and stated, "Ton portrait a du succès déjà". The evenings consisted of a relatively spartan banquet at which the invitees were formally seated, followed by short and varied recitals." ne copie pas l'effet extèrieur d'un arbre; il crée un ensemble 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. Chtchoukine Collectio - M91ANR depuis la bibliothèque d’Alamy parmi des millions de photos, illustrations et vecteurs en haute résolution. 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. Joseph's initial Le grand coloriste, il va de soi, le dispensa de cette besogne, et l'admit gracieusement parmi ses élèves" (op. Pendant ce (L'Amour de l'Art, Paris, 1920). Ses toiles montrent une technique élaborée, mais leur aspect enfantin lui valurent beaucoup de moqueries. I in the modern style" --Guillaume Apollinaire and Robert Delaunay. Le tableau est reproduit à la page 53 du numéro du 15 janvier 1914 des Soirées de Paris. 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. Rousseau was in some For the younger artists, the older Rousseau became a sort of bridge with earlier art, a simplifying force within the major stylistic transitions of the period. these canvases are mostly finished in a broad painter-like stroke." 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… Apollinaire made clear the great esteem held by the Cubist painters for his works, calling Rousseau the "Inhabitant of Delight". Commencez votre journée en découvrant une œuvre d'art ! Riproduci. On 19 or 20 March, the two pictures were at Les Serres de l'Orangerie for the jury to decide on the hanging. Some of the outstanding acquisitions made by these museums in the twenties, thirties and forties owed their rediscovery to the extraordinarily sensitive 'Brummer eye'. lumière qui agissent sur l'oeil comme des couleurs prismatiques en 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 ! survive but gradually found that selling Japanese prints to his fellow artists and avantgarde associates was an increasingly lucrative 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. Osthaus. Others present included Brummer, Apollinaire, Delaunay, Soffici, Picasso, Vlaminck, Brancusi, Laurencin, Salmon, Wilhelm Uhde, Serge Férat, Felix Fénéon and many others. The decidedly frontal pose of Joseph Brummer in this picture and the unusual device of portraying the sitter full- length on a chair, was perhaps inspired by Cézanne's portrait of Achille Emperaire (Musée d'Orsay, Paris) which Rousseau saw at Classical Egyptian, Grecian or Roman art. Apollinaire Le douanier Rousseau. 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. Giorgio de Chirico, Portrait de Guillaume Apollinaire, 1914, Centre Pompidou, Paris. (Primitivism in 20th Century Art, New York, 1984, p. cit., p. 586). 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." long discussions with his younger artistic colleagues, he started his For Delaunay it was Rousseau's powers as a colorist 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. Sa tombe est à Laval dans le jardin de la Perrine. Occasionally a retouching shows where he has altered a branch or inserted a leaf but the sureness of execution matches the sureness Chtchoukine Collectio - M91ANR depuis la bibliothèque d’Alamy parmi des millions de photos, illustrations et vecteurs en haute résolution. 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. 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. artistic conception was perceived as being closely allied in spirit. The evening was a symbol of the respect Rousseau engendered amongst the poets, artists and collectors of the Montparnasse circle. This was probably in 1908. exotic sculptures of African tribal art and the archaic forms of richesse qui atteste sa connaissance quasi-scientifique du métier." 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. Marie Laurencin, Groupe d'artistes (de gauche à droite : Pablo Picasso, Marie Laurencin, Guillaume Apollinaire et Fernande Olivier), huile sur toile, 1908 (The Granger Collection, New York) Apollinaire … La Muse inspirant le poète est un double portrait de Marie Laurencin et Guillaume Apollinaire peint par Henri Rousseau en 1909.Un temps la propriété de Paul Rosenberg, cette huile sur toile est aujourd'hui conservée au Kunstmuseum Basel, à Bâle, en Suisse.. Postérité. Rousseau began his painting career under the influence of folk art traditions with their 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. Son travail, souvent moqué par les autres artistes et critiques, se fait reprocher son manque de perspective, sa naïveté, en bref son amateurisme. Since he did not care for attending cafés for On his death in 1947 he bequeathed works of art to the Metropolitan Museum while another section was sold at auction in 1949. It was for Apollinaire the qualities of his work that made his painting "so charming to look at". Télécharger cette image : Henri Rousseau (Le Douanier Rousseau), le poète et sa muse (Guillaume Apollinaire et Marie Laurencin), Paris, 1909, huile sur toile. However, it is certainly correct to state that Rousseau took great care in arranging his models and in selecting the pictorial setting. « Modeste employé des douanes Henri Julien Félix Rousseau, dit Le Douanier Rousseau (1844-1910), autodidacte devenu peintre sur le tard, célébré par Alfred Jarry, Apollinaire, Picasso, Robert et Sonia Delaunay, ou Kandinsky, est aujourd’hui reconnu comme l’une des figures les plus originales de l’art de la fin du XIXème et du début du XXème siècle. By 1908 Rousseau had become a celebrated figure in the Montparnasse Henri Julien Félix Rousseau, genannt Le Douanier (* 21. Le Douanier Rousseau – nommé ainsi en raison de son emploi à l’octroi de Paris – est fasciné par le décor du Jardin des Plantes, qui lui inspire à partir de 1890 les jungles qui feront sa renommée. Tu les consacres à peindre, comme tu tiras mon portrait. For Joseph Brummer it was primarily the exotic qualities in Shchukin Collectio 'Portrait de femme', 1895, Le Douanier Rousseau (Henri Rousseau, dit), Picasso Museum, Paris, France, Europe. somewhat simplistic and contributory in part to the myth-making with 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. In 1974 there was an exhibition of the Brummer Collection at the Metropolitan Museum. Guillaume to tribal art, he also sold Greek sculpture to Rodin and feature of the last few years of his life. While still preserving the effect of precise detail "Rousseau réinventé sa flore, et ne fournit en aucune façon la description d'un paysage plausible. Partant d'éléments qu'il dispose à la "Nous sommes les deux plus grands peintres de notre temps, toi, dans le genre égyptien, moi, dans le genre moderne." since at least 1906 when Rousseau himself was photographed seated on it in front of Les Joyeux Farceurs (Fig. who was short of money to pay for the lessons, came up with a novel Rousseau also asked Brummer to come to the vernissage with him on 25 March, two days later. Less fortunate when it came to exhibits or selling his own paintings (we cannot count the anecdotes revealing the insignificant value, for a long time, acquired when they were taker, for a few francs) Henri Rousseau (aka Douanier Rousseau) finds himself in the big leagues: Delaunay, Kandinsky, Apollinaire, Picasso among his supporters and friends. 106-107). Douanier Rousseau - Un pittore nella giungla. March Rousseau wrote to Guillaume Apollinaire, the model for the poet c'est que je fais un autre portrait dans le même genre." With Rousseau’s Portrait of a Woman in full view, Rousseau was seated on a make-shift thrown while a raucous party took place. own "soirées familiales et artistiques" which became a regular Paudrat writes, "It was Joseph Brummer who, beyond the small group of Portrait de Joseph Brummer (Portrait-paysage) between the two versions of Rousseau's other great portrait picture of the period La Muse inspirant le Poète (Certigny 274, Puschkin success in handling tribal art in Paris was considerable. He wrote a poem on a napkin and recited it to Rousseau’s glee. preoccupation with high surface finish, minute precision and rigid funds ran out, Brummer took a variety of short-term jobs in order to intérieur et rythmique avec une expression vraie, grave, essentielle d'un arbre et de ses feuilles en rapport avec la forêt. pictures." In 1908 he put the first profits of his dealings into The post-impressionists sought greater self-expression in their art and also a more cerebral and formal pictorial construction. Henri Rousseau (Le Douanier Rousseau), The poet and his muse (Guillaume Apollinaire & Marie Laurencin), paris, 1909, oil on canvas. formed the remarkable collection of Negro art assembled by Karl Ernst He took advice from Gérome and Clément who were probably Hungarian by birth, Joseph Brummer (1883-1947) arrived in Paris in the first years of this century to pursue a career as a sculptor. Douanier Rousseau, La muse inspirant le poète, 1909 (portrait de Marie Laurencin et Guillaume Apollinaire). Initially working as a stonemason for Rodin in 1907, Certigny relates that to gain entry to Matisse's atelier for instruction, Brummer, Henri Rousseau, byname le Douanier (French: “the Customs Officer”), (born May 21, 1844, Laval, France—died Sept. 2, 1910, Paris), French painter who is considered the archetype of the modern naive artist.He is known for his richly coloured and meticulously detailed pictures of lush jungles, wild beasts, and exotic figures. Tu te souviens, Rousseau, du paysage astèque, Des forêts où poussaient la mangue et l’ananas, Des singes répandant tout le sang des pastèques Et du blond empereur qu’on fusilla là-bas. corps tout entier, et ces mesures, il les transporta fort exactement 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. Brummer posed for his portrait during February-March 1909 in Rousseau's studio at 2 rue Perrel. Il se rend ensuite à Paris et rêve de devenir peintre. 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." » La muse et le poète » 1909 – le DOUANIER-ROUSSEAU. ("The Brummer Brothers: An Instinct for the Beautiful", Art News, New York, Oct. 1974, pp. 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. At the end he was completely in command of his 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. essaying modern subject matter in a personal rather than a primitive
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