Few artists had been mocked during their lifetime as Rousseau, and even fewer had faced with equal calm the hail of insults. The evenings consisted of a relatively spartan banquet at which the invitees were formally seated, followed by short and varied The evening was a symbol of the respect Rousseau engendered amongst the poets, artists and collectors of the Montparnasse circle. Brummer posed for his portrait during February-March 1909 in Rousseau's studio at 2 rue Perrel. It is a mistake to think of such a setting as merely a decorative convention to fill space. 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. Henri Rousseau, le Douanier, avait proposé à Apollinaire de réaliser son portrait. Between the Wars when his gallery was established in New York, Joseph Brummer was instrumental in shaping the collections of celebrated collectors such as Frank Burty Haviland, W. Randolph Hearst, Bradley Martin, Greville Winthrop, Henry Walters and many others. W. H. Forsyth, on the occasion of this exhibition, wrote an article celebrating the great artistic contribution of Joseph and Ernest Brummer to the Arts of Europe and America. Guillaume Apollinaire dit, lors du salon d’Automne ou Le Douanier Rousseau présente Le Rêve : « cette année, personne ne rit, tous sont unanimes : ils admirent. Joseph's initial 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. Le tableau est reproduit à la page 53 du numéro du 15 janvier 1914 des Soirées de Paris. La muse inspirant le poète est un double portrait de Guillaume Apollinaire et de sa muse Marie Laurencin, réalisé en 1909 par le Douanier Rousseau.Apollinaire est également un critique d'art et fut parmi les premiers défenseurs de l'œuvre de Rousseau caractéristique de l'art naïf. admired. This was probably in 1908. The image of Rousseau, the retired "customs officer", as a self-taught Sunday painter was propagated initially by Apollinaire. The post-impressionists sought greater self-expression in their art and also a more cerebral and formal pictorial construction. "Rousseau réinventé sa flore, et ne fournit en aucune façon la description d'un paysage plausible. Rousseau, Paris, 1985, p. 235). temps, pour me récréer, car il est bien ennuyeux de poser, Rousseau me chantait les chansons de sa jeunesse." Paris, Les Grandes Serres de l'Orangerie. exotic sculptures of African tribal art and the archaic forms of 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 was there and it is tempting to identify him as being seated four to Rousseau's left. since at least 1906 when Rousseau himself was photographed seated on it in front of Les Joyeux Farceurs (Fig. At the end he was completely in command of his 2015 Francia. Né à Laval dans une famille pauvre, Henri Rousseau s’engage dans l’armée. Tous décèlent dans l’œuvre de ce « Giotto moderne » … 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. Paul Guillaume probably discovered the Douanier Rousseau’s paintings through his friend the poet and art critic Guillaume Apollinaire (1880-1918). In his portrait-paysages the model, often seen full-length, is rendered with great clarity and placed against a landscape background which is generally appropriate to the sitter in both nature and sentiment, and complementary to the pictorial structure of the composition. Classical Egyptian, Grecian or Roman art. 143). 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. Le poète Guillaume Apollinaire a tracé sur la dalle des vers qui seront ensuite gravés par Constantin Brancusi : Delaunay, sa femme, Monsieur Quéval et moi. His work had been exhibited alongside the Fauves at the Salon d'Automne in 1905 and in 1907 he met the collector and critic Wilhelm Uhde who would write an influential monograph on Rousseau in 1911. construction. La mia lista Condividi. which Apollinaire built up the public conception of Rousseau as the For Rousseau the landscape element was quite as important as the figure." Télécharger cette image : Henri Rousseau (Le Douanier Rousseau), le poète et sa muse (Guillaume Apollinaire et Marie Laurencin), Paris, 1909, huile sur toile. Il se rend ensuite à Paris et rêve de devenir peintre. Indépendants jury had seen it by then, Rousseau knew that they 45 5/8 x 34¾in. (Certigny, op. sur sa toile, les réduisant à la dimension du chassis. 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. Guillaume to tribal art, he also sold Greek sculpture to Rodin and The mask-like hieratic features of Brummer's face, rendered with tremendous finesse, resemble to some extent the African sculptures in which he dealt. avantgarde circles. (L'Amour de l'Art, Paris, 1920). Ses toiles montrent une technique élaborée, mais leur aspect enfantin lui valurent beaucoup de moqueries. 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. 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. Other guests were Leo and Gertrude Stein, Braque, Max Jacob, Apollinaire, Laurencin, Salmon, Raynal and many others. ). Precedents for the pictorial juxtaposition of animals with jungle or exotic locations could be found in the art of Bresdin, Delacroix, Gérome and Ingres, all artists whom Rousseau admired and wished to emulate. Son inspiration provient surtout de livres illustrés, de jardins botaniques et rencontres avec des soldats ayant participé à l'intervention française au Mexique. ne copie pas l'effet extèrieur d'un arbre; il crée un ensemble When Rousseau exhibited this portrait of Joseph Brummer at the Salon des Indépendants in 1909 he termed it a "portrait-paysage", a genre which Rousseau had initiated with his famous Moi-même, portrait-paysage self-portrait (Certigny 45) which he painted in 1890 and with which he announced to the world his ambition to be considered a grand master of modern painting. (completed by 1912 but not published until 1915). who was short of money to pay for the lessons, came up with a novel He wrote a poem on a napkin and recited it to Rousseau’s glee. Painted in Spring 1909, Joseph Brummer, Paris, 1909 (commissioned from Rousseau and received from the Artist, Three Letters from Rousseau to Brummer in. care for tribal or classical art but his simplicity and innocence of artists who were its first discoverers, contributed to the development of an interest in what was called "art nègre" and moreover ensured The image of Rousseau, the retired "customs officer", as a self-taught Sunday painter was propagated initially by Apollinaire. 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 … formed the remarkable collection of Negro art assembled by Karl Ernst 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. 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. Supplément au voyage de Bougainville, chap. When his Riproduci. He took advice from Gérome and Clément who were probably Museum, Moscow; and Certigny 277, Kunstmuseum, Basle). pictures." 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. ... ou Guillaume Apollinaire. Apollinaire was there with the artist, Marie Laurencin. (op. celebrated "Banquet du Douanier Rousseau" in honour of Rousseau at his studio in Le Bateau Lavoir in November 1908. 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. own "soirées familiales et artistiques" which became a regular primitivism. cit., p. 586). Aujourd'hui, avec le Rêve, une icône du Surréalisme, partez en exploration dans les jungles imaginaires du Douanier Rousseau, mort le 2 septembre 1910. It was Picasso who gave the 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. While still preserving the effect of precise detail Henri Rousseau est né en 1844 à Laval. "Many art objects were obtained for the Metropolitan (over 400 objects), The Cloisters, the Louvre and other leading museums in America and Europe. Le Rêve du Douanier Rousseau : focus sur un chef-d’œuvre. Rousseau's art that appealed, "Pour ce Magyar [Brummer], le Douanier 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. Douanier Rousseau - Un pittore nella giungla. Il Occasionally a retouching shows where he has altered a branch or inserted a leaf but the sureness of execution matches the sureness 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. At that time the term primitive equally came to be applied to the A contemporary photograph shows Rousseau standing proudly, palette in hand, in front 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. Rousseau never went to Mexico (another of Apollinaire's myths), he relied on visits to the Jardin des Plantes in Paris and on his own imagination to create his jungle fauna. September 1910 in Paris) war ein autodidaktischer französischer Maler, dessen Stil dem Postimpressionismus und der Naiven Kunst zugeordnet wird. in La Muse inspirant le Poète, "la preuve de ton tableau plait, Douanier Rousseau, La Muse inspirant le Poète. Rousseau's own symbolist and poetic interests, his flat, archaistic forms and expressive content allied him directly with contemporaneous post-impressionist developments. 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. However, it is certainly correct to state that Rousseau took great care in arranging his models and in selecting the pictorial setting. Le Douanier Rousseau. I in the modern style" --Guillaume Apollinaire and Robert Delaunay. France, Alpes Maritimes, Cap … Thus began the relationship which culminated in Brummer commissioning this major portrait from Rousseau early in 1909. Apollinaire est également un critique d'art et fut parmi les premiers défenseurs de l'œuvre de Rousseau caractéristique de l'art naïf. Brummer was responsible for introducing Apollinaire and Paul 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. 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 Since he did not care for attending cafés for Others present included Brummer, Apollinaire, Delaunay, Soffici, Picasso, Vlaminck, Brancusi, Laurencin, Salmon, Wilhelm Uhde, Serge Férat, Felix Fénéon and many others. of conception. naïve artist. Instagram. Le grand coloriste, il va de soi, le dispensa de cette besogne, et l'admit gracieusement parmi ses élèves" (op. 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. In 1974 there was an exhibition of the Brummer Collection at the Metropolitan Museum. By 1908 Rousseau had become a celebrated figure in the Montparnasse 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. His work had been exhibited alongside the Fauves at the Salon d'Automne in 1905 and in 1907 he met the collector and critic Wilhelm Uhde who would write an influential monograph on Rousseau in 1911. 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." On his death in 1947 he bequeathed works of art to the Metropolitan Museum while another section was sold at auction in 1949. suggestion; "Pour pouvoir travailler d'après le modèle à l'Academie Matisse il proposa, en paiement, de balayer l'atelier. Rousseau began his painting career under the influence of folk art traditions with their had liked it and planned to hang it in a good position. these canvases are mostly finished in a broad painter-like stroke." A passionate artist who lived only for his art, Rousseau was celebrated by his avantgarde contemporaries (who included Brummer) for his Commencez votre journée en découvrant une œuvre d'art ! urgency to complete it since he intended to exhibit the picture at the Salon des Indépendants. 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. In Blasco Alarçon's later picture of the event, the Rousseau picture owned by Picasso is displayed in a prominent position over the thronelike chair reserved for Rousseau. rapports inégaux. In 1908 he put the first profits of his dealings into success in handling tribal art in Paris was considerable. ("The Brummer Brothers: An Instinct for the Beautiful", Art News, New York, Oct. 1974, pp. Shchukin Collectio . occupation. greatest artists of the age, you in the Egyptian style and I in the artistic conception was perceived as being closely allied in spirit. (Primitivism in 20th Century Art, New York, 1984, p. signed and dated lower left H Rousseau 1909, oil on canvas Perhaps this recollection is Henri Rousseau (Le Douanier Rousseau), The poet and his muse (Guillaume Apollinaire & Marie Laurencin), paris, 1909, oil on canvas. intérieur et rythmique avec une expression vraie, grave, essentielle d'un arbre et de ses feuilles en rapport avec la forêt. cit., p. 586). 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. II « Les adieux du vieillard », p.142-3 Voltaire, L’Ingénu, Chap. Paudrat writes, "It was Joseph Brummer who, beyond the small group of 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. content to humour such an elderly novice. 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. March Rousseau wrote to Guillaume Apollinaire, the model for the poet Sa tombe est à Laval dans le jardin de la Perrine. 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 La muse inspirant le poète est un double portrait de Guillaume Apollinaire et de sa muse Marie Laurencin, réalisé en 1909 par le Douanier Rousseau. corps tout entier, et ces mesures, il les transporta fort exactement Chtchoukine Collectio - M91ANR depuis la bibliothèque d’Alamy parmi des millions de photos, illustrations et vecteurs en haute résolution. Sa tombe est à Laval dans le jardin de la Perrine. Apollinaire Le douanier Rousseau. Mais, pour gagner sa vie, il exercera un autre métier jusqu’en 1893. renting a shop at 6 Boulevard Raspail where, alongside the familiar Japanese prints, he displayed the objects of his new passions - African and Oceanic "primitive" sculpture and a few pictures by the "new primitive" Henri Rousseau. supérieure, tout comme chez les surréalistes ses admirateurs." multiplie les contrastes en additionnant les gammes de vert d'une somewhat simplistic and contributory in part to the myth-making with » En 1910 Henri Rousseau vend des tableaux pour plus de 1 000 francs et peut acheter son propre atelier à Paris. the purely instinctive and observational art of Impressionism. I in the modern style" --Guillaume Apollinaire and Robert Delaunay. Il fait payer des taxes sur les marchandises qui entrent dans Paris, comme cela se fait à l’époque. It is likely that Brummer met Rousseau through the agency of Max Weber, a fellow student at La Grande Chaumière. performances of music and theatrical excerpts by those present. style. In contrast, Rousseau saw himself as a completely modern artist Laisse passer nos bagages en fraude à la porte du ciel. between the two versions of Rousseau's other great portrait picture of the period La Muse inspirant le Poète (Certigny 274, Puschkin For Joseph Brummer it was primarily the exotic qualities in In Paris he left the gallery at Faubourg St. Peinture : 3000-2600000 € Dessin : 3000-140000 € Estampe : 20-3600 € Sculpture : 18500-130000 € Si vous souhaitez faire estimer une œuvrede Le Douanier Rousseau, nos experts s’en chargent. the great Cézanne memorial exhibition of 1907 at which Rousseau Portrait de Joseph Brummer (Portrait-paysage) labour. The 1890s saw a reaction against European museums and to financing the first major book devoted to the funds ran out, Brummer took a variety of short-term jobs in order to Shchukin Collectio 'Portrait de femme', 1895, Le Douanier Rousseau (Henri Rousseau, dit), Picasso Museum, Paris, France, Europe. that were the most remarkable, "les noirs sont des espaces sans cit., p. 64). of Brummer's portrait which is displayed alongside the still unfinished second version of La Muse inspirant le Poète (Fig. 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. On 19 or 20 March, the two pictures were at Les Serres de l'Orangerie for the jury to decide on the hanging. "Nous sommes les deux plus grands peintres de notre temps, toi, dans le genre égyptien, moi, dans le genre moderne." style...Rousseau's technique has now become free and without apparent Mais c’est alors que, soupçonné de complicité de vol d’œuvres d’art au Louvre, le poète est emprisonné à la Santé durant une semaine. Son travail, souvent moqué par les autres artistes et critiques, se fait reprocher son manque de perspective, sa naïveté, en bref son amateurisme. Rousseau With Rousseau’s Portrait of a Woman in full view, Rousseau was seated on a make-shift thrown while a raucous party took place. recitals." its diffusion before World War I in a fair number of European feature of the last few years of his life. Hab… As only the lumière qui agissent sur l'oeil comme des couleurs prismatiques en Il fut surnommé le « Douanier » en raison de sa profession, bien éloignée du monde de l’art. Alfred Barr was to call him "the greatest of American art dealers". Giorgio de Chirico, Portrait de Guillaume Apollinaire, 1914, Centre Pompidou, Paris. When commenting to Picasso on a picture of the Demoiselles It appears that the picture was painted in the spring of 1909 in c'est que je fais un autre portrait dans le même genre." « 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. 2 mai 2018 - Cette épingle a été découverte par Nathan Labat. Henri Rousseau, le Douanier, avait proposé à Apollinaire de réaliser son portrait. remarked of Cézanne's pictures, "You know, I could finish all these This limited repertoire of visual signals was gradually The fauteuil de rotin on which Brummer is seated was part of the furnishings of Rousseau's studio and had been there Honoré in the hands of his younger brothers, Ernest and Imre, who had come over from Hungary to join Joseph in 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.