Category Archives: Art History

The Passy Cemetery Artists: Manet, Morisot and Marie Bashkirtseff

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Passy Cemetery

They say that the Pere Lachaise Cemetery is the second most visited tourist site in Paris, which might be true. What I do know is that the Passy Cemetery in the 16th arrondissement is also wonderful place for a quiet stroll on a beautiful day, especially for the art lover.

Manet and Morisot Tomb, Passy Cemetery

Passy Cemetery is home to the tomb of impressionist artist Edouard Manet, his brother Eugene, and Berthe Morisot, who married Eugene at the age of 33.

Edouard Manet: Portrait of Berthe Morisot reclining (Source: Marmatton Museum, http://www.marmottan.com/english/collections-musee/berthe-morisot.asp)

 

Berthe Morisot lived most of her life in the bourgeois area of Passy, first with her parents, and later with her husband. Berthe’s mother actually gave up her flat on rue Guichard to Berthe and Eugene after their marriage.

Berthe was a muse and model to Edouard Manet, and posed for him many times. Whether or not they were ever lovers, you can feel how well he knew her in his portrait to the left. The painting feels exceedingly intimate, doesn’t it? I love how Manet captured her easy elegance, but with a touch of the defiance she must have had in order to succeed as a female artist during that era. You can see this astoundingly beautiful portrait for yourself at Musee Marmottan in the 16th arrondissement of Paris.

There is a lesser known surprise at the Passy Cemetery: the tomb of the impressionist Russian painter Marie Bashkirtseff, who studied at the Academy Julien in Paris until she died from tuberculosis at age 25. The tomb is a recreated art studio, not your typical religious monument.

But then Marie Bashkirtseff was not your typical 19th century woman. She is probably best known for her personal journals which were published posthumously in 1889, and which revealed her ambition, her feminism and her struggle for recognition in the male dominated world of art in 19th century France. They were considered radical, narcissistic and highly controversial at the time.

Marie Mashkirtseff's Tomb in Passy Cemetery

 

 

 

 

 

 

 

 

 

One of my favorite paintings by Marie Bashkirtseff is of female painters in a segregated art studio, the Academie Julian in Paris in 1881. Marie placed herself in the painting in the lower right-hand corner. At the time, it was considered highly controversial for women to paint from live nude models, so it is interesting that this painting shows a young model with a discretely draped cloth. I’m also a little amused by the fact that the artist holding a palette in the foreground appears to have lost her easel.

Marie Bashkirtseff: In the Studio (Source: wikipedia)

I highly recommend a walking tour of the Passy Cemetery on a nice day in Paris, followed by a visit to the Musee Marmottan. You’ll be walking in the footsteps of some exceptional women artists.

Art, Books, Paris: The Hare with Amber Eyes

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The Hare with Amber Eyes by Edmund de Waal has been out in Picador paperback since this summer, but it took a personal recommendation by a fellow art history friend to get me to finally pick it up and read it.

My friend and I toured the Stein Exhibit at the Grand Palais together a couple of weeks ago, and she couldn’t stop raving about this book. “Speaking of collectors,” she’d said, “there’s this fabulous book about a Jewish family’s collection of Japanese netsukes.” To which I said kind of sheepishly: “what’s a netsuke?” (De Waal pronounces it something like “netski.”)

 

In case you don’t know either, netsukes are small wood or ivory carvings that originated in 17th century Japan.  De Waal’s ancestor Charles Ephrussi, a wealthy art patron who lived in Paris at the height of the Belle Epoque, bought a collection of 264 netsukes when Paris was all abuzz about Japanese art. The Ephrussi collection now belongs to De Waal, and one of his favorites is the Hare with Amber Eyes, pictured above.

De Waal’s netsukes were owned and treasured by truly fascinating people. The story begins with the rise of the Ephrussi banking family in Odessa, and follows them from late 19th century Paris to 20th century Vienna, through the horrors of World War II and beyond.

Charles Ephrussi was a fashionable salon-going Paris aristrocrat, an “aesthete,” after whom Marcel Proust modeled his character Swann in Remembrance of Things Past. Charles Ephrussi was a friend and patron of Renoir, Monet, Cassat, Degas and more. The walls of his study on rue de Monceau were filled to the ceilings with impressionist paintings.

When I read that Charles Ephrussi had been invited to be a model in Renoir’s painting The Luncheon of the Boating Party, I couldn’t resist pulling out my own tattered copy of the book of the same name by Susan Vreeland. (Another great art history/Paris read to add to your list if you haven’t already.) Charles is the man in the top hat with his back to the viewer. See the names I scrawled on the cover, as I worked to keep track of all of the characters? In fact, Vreeland’s website offers a summary of each model including Charles.

 

Source: Parisian Fields

Charles Ephrussi is such an interesting character it might be worth a field trip to 81 rue de Monceau to see the former Hotel Ephrussi and the Parc Monceau neighborhood. I think I will follow the lovely travel guide by a like-minded blogger Parisian Fields, whose photograph of the former Ephrussi home is pictured on the left.

Getting to learn about Charles Ephrussi is just one of the many discoveries you will make while reading The Hare with the Amber Eyes. As the story moves on to 20th century Vienna, you will read about the rise of anti-semitism through the eyes of Charles Ephrussi’s cousin Viktor and his young beautiful wife Emmy, who received the netsukes from Charles as a wedding gift. Their children, including De Wall’s great uncle Iggie, grew up playing with the netsukes at their mother’s feet as she donned her gowns and jewelry. Before long, however, the Nazi’s seized power in Austria and stole nearly everything in the Ephrussi mansion, including their furniture, their extensive collection of books and their Old Master paintings. The family barely survived the war. The remarkable and heartbreaking story of how their netsuke collection survived the Nazi horrors is one you will just have to read for yourself.

The latest news is that De Waal has just published an illustrated U.K. edition of The Hare with Amber Eyes, which I am dying to see. If you can’t get a hold of the U.K. edition, you can at least enjoy the photos of De Wall’s netsuke gallery on his website. They’re enchanting, just like the book.

The Hare With Amber Eyes is a beautifully told story of art, family history and the connection between our lives and the objects we appreciate. Highly recommended.

 

Paris Artists Walking Tour: The Impressionists’ Paris

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 The Impressionists’ Paris by Ellen Williams (The Little Bookroom, 1997) is a wonderful little travel guide for art lovers in Paris. It offers three separate walking tours of some of the Impressionists’ art studios, homes and painting sites.

The first walk in the book takes you to the area around the Louvre and the Seine, over bridges known as Le Pont Neuf or Le Pont Des Arts to the Left Bank area near L’Ecole des Beaux Arts.

The young Impressionists would have spent much of their time in this area in the 1860’s, honing their skills by copying the paintings and sculpture inside the Louvre, and by studying under established artists at various ateliers in the city. If you were male (women were not accepted until 1897, and only then after years of bitter disputes) you hoped to be admitted to the finest art school in Paris, L’Ecole des Beaux Arts.

Unlike the female artists of the Impressionist era, I was able to walk right through the gates of L’Ecole des Beaux Arts. I was overwhelmed by its impressive surroundings, from the outdoor courtyard to a massive interior hall with a glass ceiling. There were several printmaking classes underway at the time of my visit, and the air smelled of ink and paint thinner, the happy scent of art in the making.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Just across the street a few doors north of the entrance to L’Ecole des Beaux Arts is the birthplace of Edouard Manet, which is commemorated with a historical plaque (the street was known as rue des Petits Augustins until Napoleon III renamed it in 1852). Manet is recognized as the leader of the Impressionists. When you see where he lived, you understand how he grew up completely surrounded by art.

 

 

 

 

 

 

 

 

The next stop on the walking tour is the studio of Frederic Bazille at 20 rue Visconti, just a block away from L’Ecole des Beaux Arts. In 1867, Bazille invited his friends Auguste Renoir and Claude Monet to paint with him in his studio. It has been immortalized in such paintings as Bazille’s The Artist’s Studio, Rue Visconti, Paris, 1867. Walking down this old narrow street in the fading afternoon light made me feel like there might have been a few friendly ghosts at my side.

And of course, to finish off the walking tour, I had to stop at Cafe La Palette, 43 rue de Seine, for a glass of wine and a little rest. Although La Palette doesn’t date back as far as the Impressionist era, it has been a local haunt for generations of art students since the turn of the century. I just wish I’d thought to bring a sketch pad to  memorialize it. I guess I’ll just have to go back!
The Impressionists’ Paris is a wonderful little guidebook with easy-to-follow maps as well as helpful cafe and restaurant recommendations. There are two more walking tours in the book besides this one: one for the Montmartre area and one along the Grand Boulevards. Pick this book up at your local independent bookstore and enjoy planning your own trip in the footsteps of the Impressionists. And let me know if you too can sense the ghosts.

In The Footsteps of the Impressionists: Place de Dublin

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Today’s Paris art adventure was a walk through the streets around Gare St. Lazare and the Pont de L’Europe, the scene of many impressionist paintings by Manet, Monet and Caillebotte. One of my favorite paintings from the Art Institute of Chicago is Caillbotte’s Paris Street; Rainy Day, 1877. Every time I’m standing on an angled Paris intersection I am reminded of this painting, but today I finally found the real scene at the Place de Dublin. 

Bohemian Girls and Their Careless Swagger

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In 1893, the American Girls Art Club in Paris opened its doors at 4 Rue de Chevreuse near Luxenbourg Gardens. It was intended to provide “proper” room and board to female art students arriving in growing numbers from the United States. It was a rambling, four-story yellow building with a courtyard and gardens.

The sponsors hoped to discourage the bohemian behavior for which American girls were becoming known, including such threatening breaches as “loud voices and use of slang,” a “swaggering walk” and “careless gayety.” Some of them even drank, laughed, smoked and entered freely into the studios of male artists.

Imagine that.

This blog is In honor of those bohemian girls and their careless swagger. I’ll soon be walking the streets of Paris in their footsteps. With a little slang and gayety of my own, I hope.

Source: The American Girls’ Club in Paris: The Propriety and Imprudence of Art Students, 1890-1914
Mariea Caudill Dennison
Woman’s Art Journal
Vol. 26, No. 1 (Spring – Summer, 2005), pp. 32-37
(article consists of 7 pages)
Published by: Woman’s Art, Inc.