| 词条 | Suzanne Valadon | ||||||||||||||
| 释义 |
| name = Suzanne Valadon | image = Suzanne Valadon Photo.jpg | image_size = | caption = Valadon as a young woman | birth_name = Marie-Clémentine Valadon | birth_date = {{Birth date |df=yes|1865|09|23}} | birth_place = Bessines-sur-Gartempe, France | death_date = {{death date and age |df=yes|1938|04|07|1865|09|23}} | death_place = Paris, France | nationality = French | movement =Postimpressionism, Symbolism | spouse = | awards = | elected = | patrons = | website = | bgcolour = #2495ED | field = Painter and artist's model | training = | works = | influenced by = | influenced = }}Suzanne Valadon (23 September 1865{{spaced ndash}}7 April 1938) was a French painter and artists' model who was born Marie-Clémentine Valadon at Bessines-sur-Gartempe, Haute-Vienne, France. In 1894, Valadon became the first woman painter admitted to the Société Nationale des Beaux-Arts. She was also the mother of painter Maurice Utrillo. The subjects of her drawings and paintings included mostly female nudes, female portraits, still lifes, and landscapes. She never attended the academy and was never confined within a tradition.[1] Valadon spent nearly 40 years of her life as an artist.[2] Personal lifeValadon grew up in poverty with her mother, an unmarried laundress; she did not know her father. Known to be quite independent and rebellious, she attended primary school until age 11. In 1883, aged 18, Valadon gave birth to a son, Maurice Utrillo.[3] Valadon’s mother cared for Maurice while she returned to modelling.[4] Valadon's friend Miguel Utrillo would later sign papers recognizing Maurice as his son, although his true paternity is uncertain.[5] Valadon helped to educate herself in art by reading Toulouse-Lautrec’s books and observing the artists at work for whom she posed.[6] In 1893, Valadon began a short-lived affair with composer Erik Satie, moving to a room next to his on the {{Lang|fr|Rue Cortot}}. Satie became obsessed with her, calling her his {{Lang|fr|Biqui}}, writing impassioned notes about "her whole being, lovely eyes, gentle hands, and tiny feet", but after six months she left, leaving him devastated.[7] Valadon married the stockbroker Paul Mousis in 1895, leading a bourgeois life for 13 years at an apartment in Paris and a house in the outlying region.[8] In 1909, Valadon began an affair with the painter André Utter, the 23-year-old friend of her son, divorcing Moussis in 1913.[9] Valadon married Utter in 1914,[10] and he managed her career as well as her son's.[11] Valadon and Utter regularly exhibited work together until the couple divorced in 1934.[11] Valadon was well-known during her lifetime.[12] CareerValadon began working at age 11 in a variety of areas including a milliner’s workshop, a factory making funeral wreaths, a market selling vegetables, a waitress, and then finally in the circus.[13] At the age of 15 Valadon met, Count Antoine de la Rochefoucauld and Thèo Wagner, two symbolist painters who were involved in decorating a circus belonging to Medrano. Through this connection she began work at the Mollier circus as an acrobat, but a year later, a fall from a trapeze ended that career. The circus was frequented by artists such as Lautrec, Sescau and Berthe Morisot and it is believed this is where Morisot did her painting of Valadon.[14] In the Montmartre quarter of Paris, she pursued her interest in art, first working as a model for artists, observing and learning their techniques, before becoming a noted painter herself.[15] She began painting full-time in 1896.[10] ModelValadon debuted as a model in 1880 in Montmartre at age 15.[16] She modeled for over 10 years for many different artists including Pierre-Cécile Puvis de Chavannes, Théophile Steinlen Pierre-Auguste Renoir, Jean-Jacques Henner, and Henri de Toulouse-Lautrec.[2] She modeled under the name "Maria", eventually being nicknamed "Suzanne" by Toulouse-Lautrec, also her lover, after the biblical story of Susanna and the Elders as he felt that she especially liked modelling for older artists.[17][18] She was considered a very focused, ambitious, rebellious, determined, self-confident, and passionate woman.[19] In the early 1890s, she befriended Edgar Degas who, impressed with her bold line drawings and fine paintings, purchased her work and encouraged her; she remained one of his closest friends until his death. Art historian Heather Dawkins believed that Valadon's experience as a model added depth to her own images of nude women, which tended to be less idealized than that of the male post impressionists representations.[20] The most recognizable image of Valadon would be in Renoir's Dance at Bougival from 1883, the same year that she posed for Dance in the City.[21] In 1885, Renoir painted her portrait again as Girl Braiding Her Hair. Another of his portraits of her in 1885, Suzanne Valadon, is of her head and shoulders in profile. Valadon frequented the bars and taverns of Paris with her fellow painters, and she was Toulouse-Lautrec's subject in his oil painting The Hangover.[22] ArtistIt is commonly believed that Valadon taught herself how to draw at the age of nine.[10] Valadon painted still lifes, portraits, flowers, and landscapes that are noted for their strong composition and vibrant colors. She was, however, best known for her candid female nudes that depict women's bodies from a woman's perspective.[23] This is particularly important because it was unusual in the nineteenth century for a woman artist to make female nudes her primary subject matter.[24] Valadon was not confined to a specific style, yet both Symbolist and Post-Impressionist aesthetics are clearly seen within her work.[25] AccomplishmentsValadon's earliest surviving signed and dated work is a self-portrait from 1883, drawn in charcoal and pastel.[10] She produced mostly drawings between 1883 and 1893, and began painting in 1892. Her first models were family members, especially her son, mother, and niece.[26] Her earliest known female nude was executed in 1892.[27] In 1895, the art dealer Paul Durand-Ruel exhibited a group of twelve etchings by Valadon that show women in various stages of their toilettes.[10] Later, she regularly showed at Galerie Bernheim-Jeune in Paris.[28] Valadon’s first time in the Salon de la Nationale was in 1894. She also exhibited in the Salon d'Automne from 1909, Salon des Independants from 1911; Salon des Femmes Artistes Modernes, 1933-8.[29] Degas was notably the first person to buy drawings from her,[30] and he also introduced her to other collectors, including Paul Durand-Ruel and Ambroise Vollard. Degas also taught her the skill of soft-ground etching.[31] In 1896, Valadon became a full-time painter after her marriage to the well-to-do banker Paul Mousis.[10] She made a shift from drawing to painting starting in 1909.[32] Her first large oils for the Salon related to sexual pleasure, and they were some of the first examples in painting for the man to be an object of desire by a woman. These notable Salon paintings include Adam and Eve (Adam et Eve) (1909), Joy of Life (La Joie de vivre) (1911), and Casting the Net (Lancement du filet) (1914).[33] Valadon produced around 300 drawings and over 450 oil paintings by the end of her life.[32] Her works are in the collection of the Centre Georges Pompidou in Paris, the Museum of Grenoble, and the Metropolitan Museum of Art in New York, among others. StyleValadon primarily worked with oil paint, oil pencils, pastels, and red chalk; she did not use ink or watercolor because these media were too fluid for her preference.[34] Valadon’s paintings feature rich colors and bold, open brushwork often featuring firm black lines to define and outline her figures.[2] She used hard black lines to emphasize the structure of the body. She also used firm lines in her nudes to emphasize the play of light on curves.[35] Valadon’s self-portraits, portraits, nudes, landscapes, and still lifes remain detached from trends and aspects of academic art.[36] The subjects of Valadon’s paintings often reinvent the old masters' themes: women bathing, reclining nudes, and interior scenes. However the nudes Valadon paints veer far from the norms of this male-dominated genre; the paintings are interpreted in a much different way which could contradict or question the nature of the genre.[12] Many have suggested a vibrant, emotional sense that emanates from her drawings and paintings as a result from an intimate, familiar observation of these women’s bodies. Similarly to Valadon, Berthe Morisot and Mary Cassatt painted mostly women, yet because of their middle class status in French society at the time they were unable to paint the nude body, regardless of gender.[12] However, in a divergence from her female contemporaries, Valadon also painted many nude self-portraits, across the span of her career. The later portraits are unflinchingly honest and unselfconsciously show the artist's aging body. Valadon also emphasized her focus on the importance of composition of her portraits over painting expressive eyes.[8] Her later works, such as Blue Room (1923), are brighter in color and show a new emphasis on decorative backgrounds and patterned materials.[37] It is thought that her experience as a model and as an artist allowed her to analyze the process that transformed and positioned the body as an object of the gaze within a work of art and influenced her understanding and perspective of women and the female body.[38] Valadon has been considered transgressive in her position as a woman painting the nude female body.[39] Her class allowed her to enter the male public domain of art through modeling and then emerge as an artist within her circle of prominent male artists, and her lack of formal academic training may have made her feel more comfortable breaking with convention.[40] She resists typical depictions of women via their class and supposed sexuality through her use of unidealized and self-possessed bodies that are not overly sexualized.[41] Feminist legacyAs one of the best documented French artists of the early 20th century, Valadon's body of work has been of great interest to feminist art historians, especially given her focus on the female form. Her work was candid and occasionally awkward, often characterized by strong lines, and her resistance to both academic and avant-garde conventions for representing the female nude have encouraged interest in her work: "It has been argued that many of her images of women signal a form of resistance to some of the dominant representations of female sexuality in early 20th-century Western art. Many of her nudes painted from the 1910s onwards are heavily proportioned and sometimes awkwardly posed. They are conspicuously at odds with the svelte, 'feminine' type to be found in the imagery of both popular and 'high' art."[40]Unlike her contemporary Mary Cassatt, Valadon did not identify as a feminist. Even so, her work has been reassessed and viewed in a feminist light, especially as it was created during a time period in which "The Woman Question" was gaining more interest and prominence. Group exhibitions
Solo exhibitions
Permanent collections
DeathSuzanne Valadon died of a stroke[42] on April 7, 1938, at age 72, and was buried in the Cimetière de Saint-Ouen in Paris. Among those in attendance at her funeral were her friends and colleagues André Derain, Pablo Picasso, and Georges Braque. Novels and playsA novel based on her life by Elaine Todd Koren was published in 2001, entitled Suzanne: of Love and Art.[43] An earlier novel by Sarah Baylis, entitled Utrillo's Mother, was published first in England and later in the United States. Timberlake Wertenbaker's play, The Line (2009), traces the relationship between Valadon and Degas. Valadon was the basis for the character Suzanne Rouvier in the novel The Razor's Edge by W. Somerset Maugham.[44] HonorsBoth an asteroid (6937 Valadon) and a crater on Venus are named in her honor. The small square at the base of the Montmartre funicular in Paris is named Place Suzanne Valadon. At the top of the funicular, and less than 50 meters to its east, are the steps named rue Maurice Utrillo after her son the artist. GalleryArtwork by ValadonPortraits of ValadonIllustrations
See also
Notes1. ^Warnod 40 2. ^1 2 Marchesseau 9 3. ^Marchesseau 9 4. ^Marchesseau 15 5. ^Warnod 48 6. ^Warnod 40 7. ^{{cite web|url=http://www.af.lu.se/~fogwall/article5.html|title=Suzanne Valadon|publisher=Akademiska Föreningen, Lund University|accessdate=12 June 2010|archiveurl=https://web.archive.org/web/20101003121959/http://www.af.lu.se/~fogwall/article5.html|archivedate=3 October 2010}} 8. ^1 Marchesseau 16 9. ^Marchesseau 17-18 10. ^1 2 3 4 5 6 Giraudon, Oxford Art Online 11. ^1 {{cite book|title=Dictionary of Artist's Models|last=Jimenez|first=Jill Berk|publisher=Routledge|year=2001|location=London|page=529}} 12. ^1 2 {{Cite journal|last=Mathews|first=Patricia|year=1991|title=Returning the Gaze: Diverse Representations of the Nude in the Art of Suzanne Valadon|url=|journal=The Art Bulletin|volume=73|pages=|via=}} 13. ^Warnod 13 14. ^{{Cite book|title=Suzanne Valadon|last=Warnod|first=Jeanine|publisher=Crown Publishers, INC|year=1981|isbn=|location=New York|pages=13}} 15. ^{{cite web|title=Suzanne Valadon|url=http://www.nmwa.org/explore/artist-profiles/suzanne-valadon|work=National Museum of Women in the Arts|accessdate=December 20, 2012}} 16. ^Rose 9 17. ^Marchesseau 14 18. ^{{cite web |last1=Drees |first1=Della |title=Valadon and her studio in Montmartre |url=https://delladrees.com/wordpress/?p=955 |accessdate=20 August 2018}} 19. ^Marchesseau 15 20. ^{{Cite journal|last=Iskin|first=Ruth|year=2004|title=The Nude in French Art and Culture|url=|journal=CAA Reviews|volume=|pages=|via=}} 21. ^{{cite web|last=Smee|first=Sebastian|title=At MFA, dancing the night away in the arms of Renoir|url=https://www.bostonglobe.com/arts/theater-art/2012/05/18/mfa-dancing-night-away-arms-renoir/sZJlEIpJMcdGxHvSR2x5EM/story.html|work=The Boston Globe|accessdate=April 10, 2013}} 22. ^{{cite web|title=Henri de Toulouse-Lautrec|url=http://www.harvardartmuseums.org/art/229060|work=Harvard Art Museums|accessdate=December 20, 2012}} 23. ^Burns, Janet M.C. Looking as Women: The Painting of Suzanne Valadon, Paula Modersohn-Becker and Frida Kahlo, Atlantis 1993: 18(1&2): 25-46. 24. ^{{cite journal|last=Betterton|first=Rosemary|title=How Do Women Look? The Female Nude in the Work of Suzanne Valadon|journal=Feminist Review|date=Spring 1985|volume=19|pages=3–24 [4]|doi=10.1057/fr.1985.2}} 25. ^{{Cite journal|last=Dolan|first=Threse|year=2001|title=Passionate Discontent: Creativity, Gender and French Symbolist Art|url=|journal=CAA Reviews|volume=|pages=|via=}} 26. ^Warnod 48, 57 27. ^Rose 97 28. ^{{cite web|title=Suzanne Valadon|url=https://www.brooklynmuseum.org/eascfa/dinner_party/heritage_floor/suzanne_valadon.php|work=Brooklyn Museum of Art|accessdate=December 20, 2012}} 29. ^{{Cite book|title=Dictionary of Women Artists Volume 2 Artists, J-Z|last=Gaze|first=Delia|publisher=Fitzroy Dearborn Publishers|year=1997|isbn=1-884964-21-4|location=Library of the Minneapolis Institute of Art|pages=1384}} 30. ^Warnod 51 31. ^Warnod 55 32. ^1 Marchesseau 17 33. ^Marchesseau 18-19 34. ^Marchesseau 16 35. ^Warnod 48 36. ^Marchesseau 9, 11 37. ^{{cite web|title=Suzanne Valadon|url=http://www.moma.org/collection/artist.php?artist_id=6055|work=Museum of Modern Art|accessdate=March 7, 2013}} 38. ^Mathews 415 39. ^Mathews 418 40. ^1 {{Cite book|title=Dictionary of Women Artists, Volume 2 (Artists, J-Z)|last=Gaze|first=Delia|publisher=Fitzroy Dearborn Publishers|year=1997|oclc=873790995|location=Chicago|pages=}} 41. ^Mathews 416, 419, 423 42. ^Warnod 88 43. ^{{cite book|last=Koren|first=Elaine Todd|title=Suzanne: of Love and Art|publisher=Maverick Books|date=2001|url=https://www.amazon.com/Suzanne-Love-Elaine-Todd-Koren/dp/0967235529}} 44. ^The Razor's Edge by W. S. Maugham 45. ^Notice WorldCat; sudoc; BnF. Engraved on wood and unpublished drawings of: Matisse, J. Marchand, R. Dufy, Sonia Lewitska, de Segonzac, Jean Émile Laboureur, Friesz, Marquet, Pierre Laprade, Signac, Louis Latapie, Suzanne Valadon, Henriette Tirman and others.´ References
External links{{Commons category}}
13 : French women painters|Modern painters|French artists' models|1865 births|1938 deaths|19th-century French painters|20th-century French painters|20th-century French women artists|19th-century French women artists|Nude art|Members of the Ligue de la patrie française|People of Montmartre|Suzanne Valadon |
||||||||||||||
| 随便看 |
|
开放百科全书收录14589846条英语、德语、日语等多语种百科知识，基本涵盖了大多数领域的百科知识，是一部内容自由、开放的电子版国际百科全书。