Vuillard: The Inexhaustible Glance: Catalogue Raisonné of Paintings and Pastels, Volume I

281 Pages·2003·444.2 MB·English

by  Antoine Salomon and Guy Cogeval with Mathias Chivot

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Antoine Salomon and Guy Cogeval
Vuillard
The Inexhaustible Glance
Critical Catalogue ofPaintings and Pastels
Volume I
with the collaboration of
Mathias CHIVOT
Skira
Wildenstein Institute
Contents
Jacques andAntoine Salomon's Skiraeditore Wildenstein Institute Publications Volume I
Successive Collaborators
ArtDirector PublicationsManager VII Foreword byAlec and GuyWildenstein
André Chastel Marcello Francone Marie-ChristineMaufus
IX Introduction by Guy Cogeval
Monique Schneider-Maunoury
EditorialCoordmation PublicationsSecretary
AlixChevallier MarziaBranca Annie Champié Catalogue
SylvieYeu 3 I-The Genesis ofa RespectableYoung Man: The Reality
JulietWilson-Bareau Editing EditorialAssistant
Principle (1868-90)
Annette Leduc and Brooks Beaulieu TimothyStroud PerrineWanecq
67 II-Acting the 'Zouave': Nabi daring Innovations (1888-92)
Mathias Chivot
Layont Library 155 Ill-In the Glow ofthe Footlights (1890-1900)
SerenaParini Sophie Pietri
217 IV-Interiors with 'Obbligato' Family (1889-98)
AntonioCarminati AmélieNaux
355 V-Between Irony and Symbolism: Towards the Décorative
AnneSohier
Chromolithography (1891-99)
FrancoPeruzzi SubscriptionsAssistant
451 VI-The MisiaYears (1895-1900)
ClaudeJacir
Firstpublishedin Italyin2003 by
SkiraEditoreS.p.A. Translation Volume II
Palazzo CasatiStampa
viaTorino 61 Coordinator 539 VII-Belle Époque: a SimplifiedVision (1898-1908)
20123Milano Élisabeth Raffy, 821 VIII-MonsieurVuillard's Travels (1898-1914)
Italy Wildenstein InstitutePublications 1025 IX-A Best-SellingArtist (1908-14)
www.skira.net
CoordinationAssistant
© 2003 byWildenstein Institute, Paris Marie-ChristineDecroocq, Volume III
© 2003 bySkiraeditore Wildenstein Institute Publications
© 2003 ÉmileBernard, PierreBonnard,AndréDerain, 1175 X-War! (1914-20)
GiovanniGiacometti, GeorgeGrosz,Armand Translators 1295 XI-The Hedonist and the Psychologist (1918-28)
Guillaumin,WassilyKandinsky, Succession Henri Catalogue entries:
1451 XH-Pater Seraphicus (1928-40)
Matisse, EdvardMunch,AndyWarhol,ManRay, Language Consulting Congressi, Milan
Kerr-XavierRoussel,ChristianSchad, PaulVallotton, Mark Hutchinson Appendix
ÉdouardVuillardbySIAE2003 MichaelTaylor
1641 Chronology by Mathias Chivot
Ail rights reservedunderinternational
IntroductoryTexts and Chronology: 1646 Bibliography
copyrightconventions.
Jill Corner 1662 Exhibitions
Nopartofthisbookmaybe reproducedorudlized
inanyformorbyanymeans, electronicormechanical, JudithTerry 1696 Titles
includingphotocopying, recording, oranyinformation 1713 Index ofCollectors, Galleries and Muséums
storageand retrievalSystem,withoutpermission 1730 Index ofNames cited in the Catalogue
inwritingfromthepublisher.
1739 Photographie Crédits
Printedand boundinItaly. Firstédition
ISBN 88-8491-119-2
DistributedinNorthAmericaand LatinAmerica
byRizzoli International Publications, Inc. throughSt.
Martin'sPress, 175 FifthAvenue, NewYork,NY 10010.
Distributed elsewherein theworld byThamesand
Hudson Ltd., 181a HighHolborn, LondonWC1V
7QX, United Kingdom.
Foreword
by Alec and Guy Wildenstein
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There could be no finer tribute to our father than this let- The choice of Guy Cogeval to write the catalogue seemed
terfromJacques Salomon, ÉdouardYuillards nephew, which self-evident to Daniel Wildenstein and the Salomons. His
encapsulâtes the historyofthis catalogue, the mutual respect érudition and understanding ofVuillard as a person could
andtrustofthose involved andour admiration forthe painter. not fail to do justice to the painter's work. We can see today
what a wonderfully wise choice it was.
Today, two years afterJacques Salomon's death, we are happy
to see the flowering ofthis project launched sixty years ago We should like to end this tribute with a little family side-
and completed, despite manydifficultés, thanks toAntoine light: as a little girl our mother Martine posed with her two
Salomon's détermination and farsightedness and to his wife sisters for the Frieze commissioned by their father Marcel
Colette's unfailing commitment to the cause. Kapferer, the great collector and friend ofÉdouardVuillard.
VII
Introduction
by Guy Cogeval
Puttingtogetheracomprehensive catalogue ofan artists paint- recluse, voluntarily eut offfrom the modem world's inno¬
ings and pastels is always a longand exactingproject, an over- vations and pleasures, indiffèrent to the political events of
whelming task. This one has been more demanding than his time. And yet the exact opposite was true. I trust that
most, since in addition to a considérable number ofworks this research proves as much, by revealing the colourful, qui-
(almost three thousand of them), Yuillard deliberately left edybossyandsometimes bad-temperedcharacter hewas,with
behind him a great mass ofdocuments ofail kinds that had his cowardly moments and acts ofgenerosity, a décisive and
to beexamined. Furthermore, hispersonality, though to some passionate man ofabsolute probity, capable ofimposing his
extent familiar, has often been misinterpreted. The avowed views on those around him and above ail of transforming
goal of this project was from the start to build up a fairer the trivial happenings ofdaily life into the very stuffofhis
and more focused picture ofEdouardVuillard as both artist painting. Indeed, manyofhis cosy interiors tell stories ofhis
and human being: a son, brother, uncle, lover, Parisian, tire- life, real dramas that affected him; a numberofhis large déc¬
less reader, intellectual, with ail his contradictions and his pas¬ orative panels contain unmistakable references to his fami¬
sions.The bookis meant to testifyto thestature ofthis leading ly and friends, the people he held dear, to an extent that no
protagonist ofPost-Impressionism, whowas a contemporary one had hitherto suspected. There are even a number of à
ofGauguin andSeuratandyetpaintedtwo thirds ofhisœuvre c/^/paintings. Over more than half a century Vuillard cre-
in the first fortyyears ofthe twentieth century. Thus hewas ated abodyofworkthatinsistentlyposes the involutive ques¬
also a contemporary of Matisse, Picasso, Cubism, and the tion ofits proper place within the modem tradition.
Rappel à l'ordre (Call to Order) that followed the 1914-18 To go backto the Catalogue raisonné, which became over time
war. Here was an artist who could find his own place away a Catalogue critique. The saga ofthis book began at the end
from these movements and these towering figures, while ofWorldWar II. It is finally published in 2003. During the
always keepingan eye on the potential fornewdevelopments war the initial task ofsorting and listing the contents ofthe
in art. This is the first, and most obvious, point. artist's studiowas entrustedbyVuillard'sheirs toAndré Chas-
In considering him as a psychosocial being, it had become tel, a choice thatwas to provewise and even sumptuous, given
customary to think of Vuillard as a monk shut up in his that the École Normale student turned soldier came back
fortress, too shy to be a man-about-town. The critics were from a German prison camp to become the greatest post-
happy to admit his talent in certain areas: the intimacy of war French art historian. In carrying out this task Chastel
his petit bourgeois family scenes, the remarkable technical describedwith care and discernment the pictures hewas clas-
virtuosity ofhis great décorative panels. Others went so far sifying in the studio stock. These, ofcourse, did not include
as to appreciatehis lateportraits (goodness, howdaring!). But paintings sold abroad in the artist's lifetime between 1900
the man's reserve and apparent modestywould seem to have and 1940, which include some major works. Jacques
ruled out any notion ofa willed, dynamic, in a word, 'sec- Salomon, Vuillard's nephew, set to work at the end of the
ular' approach to création in his chosen path. Countless com- war to complété André Chastel's inventory, respecting the
mentators have trotted out the same old story ofa monkish same descriptive principles as his predecessor, whose entries
'OctagonalSelf-Portrait
IX
11-25 (détail).
Introduction Introduction
often achieve literary excellence. We decided to reproduce since most of the researchers seem to have been intimidat- lessness. Instead of two years, therefore, my task took six, entries. This catalogue was not meant to be read straight
their texts in this catalogue as theystand: theyare to be found ed and paralyzed by the size ofthe archives. Too much doc¬ inevitablyprolonged bythe need forgreater précision. I had through from the first page to the last; rather like a palin¬
after the technical notes signed with the initiais AC or JS. umentation can be dangerous! to meet the people who had knownVuillard in his lifetime: drome, it can be approached by various 'entrances'. In this
As first-hand evidence byeye-witnesses theyare irreplaceable Where to start? It was a legitimate question. EverydayVuil¬ as well asAntoine Salomon, I was given invaluable testimo- respect I mustconfess myindebtedness to thewriterVladimir
regarding paintings that we have been unable to locate, and lardwrote a page in his current notebook about his outings nybyAnnetteVaillant, DanielWildenstein,Jean-Claude Bel- Nabokov and in particular to his 'novel' Pale Pire. The nar¬
it was only the written accounts by these two Vuillard spe- and the people he met and dined with. These entries, gen- lier, Lulu Kléné (Lucy Hessel's adopted daughter) andAlain rative structure of this book consists of a préfacé, a poem,
cialists thatpermitted us to restore to these compositions their erally in a télégraphie style, are ofno great interest as litera- Vernay. The study needed to be exhaustive and bring ail the thevery long notes to the poem, and a postface; itis through
original colours, détails and depth of field. Their historic ture, but the Journal also provides valuable information on strands together. I gradually came to feel a deep and broth- moving from one to another of these parts that the plot
flavour, as it were. In the main this was a simple descriptive commissions, the stage he had reached in the exécution of erly affection for this great man. The project has now corne emerges and the novel appears. In short, the Vuillardcata¬
inventorywithout generalization or bias. The latter, howev- each painting, pastel or décor, and the hésitation he often safely into port, at almost exactly the same time as the cat¬ logue had to be honed down and made clear and compré¬
er, can be found in the books onVuillard that bothmenwere felt. With its help, the re-dating ofthe works in this book is alogue ofthe greatVuillardrétrospective ofWashington, Mon¬ hensible enough to satisfy art historians and art dealers,
writing whilstworking on the huge project ofanalysing the almost complétéwith regard to mostofthe studies published tréal, Paris and London. muséum curators and collectors, able to be read both in quick
documentation. Chastel's bookwas published in 1946 and until about 1990. The writing ofthe critical catalogue was My warmest thanks naturally go to Antoine and Colette bursts or by whole chapters at a time.
Jacques Salomon's in 1945 (it was re-published with addi- entrusted to me bythe Salomon familyand theWildenstein Salomon, EdouardVuillard's heirs, fortheir passionate com- Ofcourse, ail parallel explanations, even over-interpretations,
tional text in 1961 and 1968). To these first essays on the Institute in the summer of 1996.1 must stress here the déci¬ mitment to making the great Edouard more widely known. spring from my own studies, not necessarilyfrom the archivai
artist must be added the indispensable studybyClaude Roger- sive part playedbythe late andgreatlymissedDanielWilden¬ At times their lives have been caught up in the fate ofthe documents. None of the latter suggested my comparions
Marx, also published in 1946 and remarkable for the qual- stein — whose expertise with descriptive catalogues was catalogue raisonné. The generous access theygaveme to their between The Suitor and Emile Reynaud's film strips and
ity ofits prose. Vuillard was fortunate in finding three such unequalled— in the total re-shapingofthiswork, whichhad archivai holdings andthe absolute freedom I hadto use them between the Natanson Album and Wagner, nor my reading
commentators.Their sense oflanguage, presentedas the 'per¬ become somewhat bogged down. I cannotforgethis human- were admirable. But above ail, the total lack ofcensure on ofthe Zurich Large Interior, nor the link between the Nabi
ceptible équivalent' ofpainting, isa consolationfor the weighty ityandhis incomparablesense ofhumour. Ele savedthe pro¬ their part with regard to what I was able to find out about interiors and médiéval illuminations, muchlessVuillard's sav-
démonstrations ofscholarship so common in contemporary ject. What is more, he always demonstrated complété the relations between Vuillard and his family, Vuillard and agejoy in caricature in his late portraits.This unambiguous,
criticism. confidence in me, supporting the not invariably conformist Kerr-Xavier Roussel, andVuillard andwomen constitutes an peripatetic, inclusive-and highlydebatable— perspective on
Eventually the taskwas entrusted to a number ofresearchers, approach ofthe catalogue. At first I thought I should have exception in the history ofmonographs, in cases where the the artist is entirely my own. I have tried to give priority to
each ofwhom did an outstanding job tracking down exhi¬ to embark- it was in away my mandate — on the labour of family still holds the intellectual rights to the artist's work. the works I considered most important. Some readers may
bitions inwhich theworks appeared, thehistoryoftheir own- rewriting and further researching what had been left by my We know the extent to which some 'artists' widows' can be be disappointed to find that the works they possess have no
ership, assemblingail the criticalstudies published duringthe immédiate predecessors. In fact, it was soon apparent that possessive and temperamental, obstructing the genuinely commentary, but in général I have managed to make the con-
'Nabi' painter's lifetime and organizing his correspondence. some important paintingshad been neglected, that the inter¬ scholarlywork ofresearchers. There was none ofthat about text ofone work (the sequence, the introduction, the other
Herewemustmention Monique Schneider-Maunoury, who, prétation oftitles and meanings oftheworks might bewrong, the Salomons, who have much oftheirforebear's light-heart- works) illuminate the rest as the reader goes from one to the
withJacques Salomon, establishedthe first cardcatalogue, an and that sketches I found illuminatinghad been left uncon- ed humanism. I want to thankAntoine, whose unerring eye other.
essential reference source. However, a crucial component of sultedin their boxes. A temptation to tautologyhovered over can always tell a real Vuillard from a fake, for having faith In addition to the fond memories I have ofDaniel Wilden¬
thecataloguewas missinguntil theartistsJournalbecame avail- these earlier efforts: 'Vuillard isVuillard, he is sufficient unto in me from the start, and most of ail Colette, who for six stein, who left us too soon without seeing the end resuit of
able to the researchers in 1981; it had been deposited with himself'.Therewere real problemswith the iconography, and whole years gave me the run oftheir apartment, where a sit- ail the studies he had set in motion, I must express my grat¬
the Institut de France by Kerr-Xavier Roussel afterVuillard's above ail no clear picture ofVuillard's personality emerged. ting-room had been turned into aVuillardlibrary. The hold¬ itude to his sons Alec and Guy, who are continuing his out¬
death, with the proviso that itwas not to be opened forforty In the files of the Salomon Archives there are letters from ings comprise letters and postcards from the artist's nearest standing work in the same spirit, and to the staff of the
years. The job of deciphering the painter's difficult hand- the artist's mother and sister and from Misia, Lucy Elessel and dearest, put in order byAntoine Salomon over the past Wildenstein Institute for their tireless efforts in the publi¬
writing was entrusted by Antoine Salomon to a number of and other mistresses that reveal major family rows, passion- fifty years, together with sketchbooks, data sheets for each cation ofthe critical catalogue: Marie-Christine Maufus in
peoplewhose contribution has been mostvaluable. I should ate relationships andjealous scenes. By linking together and work, a complété photo library and a collection ofbetween particular guided theproduction ofthe book at arms' length,
like here to pay tribute to the efforts ofAlix Chevallier and 'meshing' ail these papers Iwas able to establish that the enig- five and six thousand preparatory drawings: ail this docu¬ with the able assistance ofAnnie Champié, Elisabeth Raffy,
SylvieYeu in transforming a mass ofhand-written notes (sev- matic Edouard was by turns a cynic and a romantic, both mentation enabled me to assign an exact date to paintings responsible for the English édition, Perrine Wanecq, Marie
eral dozen notebooks) into scrupulously analyzed typewrit- Jansenist and boisterous, leading a more hectic life than had and pastels hitherto only roughly dated. Christine Decroocq, LauraEspagnon and ClaudeJaciras well
ten pages. Otherexperts followed, fromJulietWilson-Bareau, been supposed. Failingto identifythe person orpersonswith As is invariably the case with a critical catalogue, the texts as the librarians SophiePietri, Anne SohierandAmélie Naux,
whose investigations coveredthe artistspreviouslylittleknown whom an artist shares his most private feelings is a ques- written, correctedand approved between 1995 and 1999 were the photographerFabrice Gousset, the computertechnician
country holidays as well as his various homes in Paris, to tionable approach even ifhe only paints black squares on a still unpublished in 2002. Furthermore, thevery concept of Gabriel Gendre, Michèle Gaudin, and the NewYork team,
Annette Leduc and Brooks Beaulieu, but no synthetic analy- white background. But when three-quarters of his work the book changed rapidly. The number ofentries I was sup¬ Joseph Baillio, Ay-Whang Hsia and Eliot Rowlands. Next I
sis came oftheirwork — at least, nothing comparable to the depicts his mother, his sister, his friends and his lovers, such posed towrite leapt from200 to almost 800.1 hadruled out wish to thank the young art historian Mathias Chivot, who
masterly studies by Elizabeth Easton and Gloria Groom - an attitude looks like puritanical blindness orjust plain care- endless chapter introductions followed by purely technical was my assistant for six years and in the process became a
X XI
Introduction
friend: without flagging he carried out a vast programme of Ultima verbcc. despite the Babyloniandimensions ofthis three-
documentaryresearch in the libraries ofParis, not onlyorga- volumework, I never hadany intention ofsayingeverything,
nizing data but also going through ail the texts I had asked publishing everything or recording the artist's tiniest scrib-
him to put in order. He checked ail the biographies, picto- ble. On the contrary, I have endeavoured to maintain a cer¬
rial historiés and lists ofexhibitions, corrected the mistakes tain balance and harmony between the various parts ofthe
that had inevitably crept into the data sheets and complet- book so as not to drown the reader in a sea of facts. This
ed them for the final years up to 2002. I should like to pay means that future investigators will still find unused letters,
tribute here to his commitment, finesse and tireless work. will beable to do furtherworkin areas I have leftunexplored,
Itshould be notedin parenthesis that theVuillard rétrospective and may be surprised at my casual attitude to certain doc¬
to be shown in 2003 in four ofthe world's cultural capitals uments.Thereremain manyseams to be mined, which may
constituted an encouragement to finish the critical catalogue contradict myreadings. So much the better. Édouardhas not
and to take stock of the current whereabouts of the main finished surprising us, and the future smiles on him.
works ofart appearingin it. It shows Vuillard as he has rarely
been seen, and will help to présent this fresh viewpoint on
the artist. In addition to offeringheartfelt thanks to the direc- *January 10, 1987
tors, curators, researchers andstaffofthe fourmuséums con- Dear DanielWildenstein,
cerned (the National Gallery of Art, Washington, the Asyou doubtlessknow frommyson, I retiredalmost ten years ago, after that
"apotheosis" atDurand-Ruel'sand laterat yourhouse in London,which I still
Montréal Muséum ofFineArts, the Musée d'Orsay, Paris and
rememberwith infinitégratitude.
the Royal Academy ofArt, London), I wish to express my This iswhyI amwriting toyou: youprobablyremember thatI spoke toyour
fatherabouttheprojectforaVuillardcataloguewhich Ihadstarted in 1942with
affection and gratitude to KimberleyJones, Laurencedes Cars theencouragementofK.-X. Roussel.Withthis inviewI decided to bringin an
and Mary-Anne Stevens, the three other curators, each of expertwhomI was goingto recruitfrom the EcoleNormale; the directorhad
warmly recommendedAndré Chastel, whohadjustreturnedfrom theprison
whom has done wonders in bringing this project to a suc-
camp. The times not beingpropitious, wehad to interruptourworkaftertwo
cessful conclusion. years... andwentback to itsomeyears later, with Monique SchneiderMaunoury
I should also like to acknowledge my debt to many people whom I introduced toyour father, andentrusted the taskofcarryingon thework
tomysonAntoine.Timehas passed!... The reason formyletter is toaskyou to
who provided valuable information and advice: Jean- whatextent you mightfeel inclinedtohelp mewith thepublication ofthis book,
Claude Bellier, Luc Bellier, Anisabelle Berès, Claire Denis, which for me represents aworkofpiety. I should like, ifpossible, todiscuss it
with you oneofthesedays.
Marina Ducrey, Elizabeth Easton, Gloria Groom, the late
Anne Gruson, Sabine Helms, Waring Hopkins, Paul and Jacques Salomon
EllenJosefowitz, William KellySimpson, Lulu Kléné, Sylvie
RS. Myapproach to youwas based onthemotto ofWilliamtheSilent: "There
Legrand, Isabelle Lemasne de Chermont, Jean-Michel Nec- isno need tohope in order to undertake, nor to succeed in orderto persevere",
toux, Christian Neffe, Dominique Païni, Lionel Pissarro, whichVuillard quotedso often... and which Roussel summed upin theLatin
word PERGE that heinscribed on the flyleafofhis books.
Dominique de Font-Réaulxwho created the inventoryofthe
artist's 1,700 photographs, and Sandrine Nicollier who
explored the recent bibliography.
Finally, my warmest thanks go to ail those colleagues and
friends who invarious contributed towards makingthis
ways
catalogue real tool for research:
a
Véronique Berecz, Brigitte Bitker-Ranson, Emmanuel Bréon,
André Cariou, Isabelle Collet, René Convert, Marie Davaine,
Frédéric Dassas, Louise Eliasof, Elisabeth de Farcy, Hélène
Flon, Odile Fraigneau, Claire Frèches, Charles and Angela
Hack, Mr. and Mrs. Spencer-Hayes, Vincente Madrigal,
Christian Paty, Jean-Pierre Pélissier, Ursula Perucchi-Petri,
Anne Pingeot, Marie-Hélène Poix, Katia Poletti, Anne Roque-
bert, Antoinette Romain, Marie-Anne Sarda, Jutta Usomo,
Marie-Paul Vial and Alix Walsh.
Music
XII V-97.4 (détail).