Jules Flandrin - Exceptional illustrated correspondence (150 pages).

Jules Flandrin (1871.1947)

Correspondence to Alfred Rome.

43 signed autograph letters, 3 handwritten invoices of paintings and 4 original photographs of the painter. About 150 handwritten pages - between June 1909 and November 1922 - enriched with numerous drawings, sketches, studies and wash.

Various formats in-8 ° and in-4 °. Some preserved envelopes.

Together kept in a superb double binding - under embedding - in the middle of the Havana morocco by Michèle Prince. Smooth back and golden title “Alfred Rome - Jules Flandrin”, Entrelacs of golden nets forming a stylized flower on the first dish, golden head, interior gilded net, lining and strong embossed paper.

 

 

“It seems to me that I only learn the profession of painter. »»

 

Extraordinary and abundant correspondence, entirely devoted to painting, to his friend architect and collector Alfred Rome.

Flandrin immerses us in the daily life of Fine Arts from the beginning of the 20th century. Recognized painter, exhibiting at the Fall Fair and the self-employed, he portrays his Grenoble collector friend his creation projects, his doubts and pictorial enthusiasm while being, for the latter, the contractor of works of art with the merchants Bernheim, Rosenberg and Vollard.

A real artistic gazette of his time, Flandrin describes, from the inside, the world of the arts of the beginning of the 20th ^century and evokes pell-mell his admiration for Van Gogh, Cézanne, Hokusai and Toulouse-Lautrec; his friends Matisse, Marquet, Forain and Denis; his master Gustave Moreau; His partner Jacqueline Marval, and her pictorial analyzes of Gauguin, Manet, Renoir, Monet, Raphael, Bouguereau, Rodin, Degas, Vallotton, Ravier, Fantin-Latour, Urtin, Jongkind, Corot, Millet, Van Dongen, Delacroix, Rousseau, Bellini, Véronèse, Mantegna, Monticelli, Rubens, Henner, Rousseau, Lhote, Anquetin, Segonzac, Calès, Michel Ange, Chardin.

________________________________________________________

 

I. Paris. June 13, 1909. Flandrin is looking for works by Fantin-Latour for his collector friend: "... as pictorial beauty, one struck me, 25 or 30f I think, a naked woman extended from back in a landscape, a beauty of wonderful light and a beautiful drawing not boudiné [...] Finally, to your choice and I will take the best possible ..."

 

II. Paris. June 15, 1909. Acquisitions are made (for a total of 75 francs): "... you will receive a postal package sent by Mr. Kleinman: 3 lithographs, the naked we have talked about, the lithography entitled Lelio that I find very beautiful [...] and another pretty little little where a young woman walks in a delicious undergrowth [...] I think they will be in your office or in your apartment, without clutter. […] I received a nice volume on Ravier […] The reproductions are admirable. »»

 

III. Paris. November 2, 1910. Flandrin is enthusiastic by Toulouse-Lautrec and disappointed by Maurice Denis. : " I tell myself that I didn't thank you enough for your kindness for my paintings. I will especially try to deserve it. […] For today I send you as the subject of chat, a figaro number on Lautrec. […] The text will interest you strongly. This is also true and just that the works are great. […] I will cause you a long time in the fall fair. Maurice Denis disappointed me, by a decorative bias that is based on failed tones. Oh, it's well done, for decorative painters. Not a burr, not a stain; I understand that these brushwalls did not tremble in front of their task, but he! ?? I know that a complete work must make work invisible to make room for emotion, but they, ignorant as the public, see as a goal only the very finished thing.

 

IV. Paris. November 13, 1910. “... I am starting to resume the thread. Taking up the thread for me is quite complicated, because it is gathering the observations and the acquis of the holidays with reflections and conclusions that the new aspect of the artistic things in Paris necessarily gives birth. The last observation was yesterday, at the installation of a small exhibition on rue Lafitte, bringing together a 60 ^groin of former students from Gustave Moreau. Matisse having only sent workshop studies, these are the 3 small landscapes of Marquet that made me the best impression. […] Many things here have the effect of something of Urtin near your Jongkind watercolor. This feeling, we can have it in the same artist. […] All that I feel even better on myself, especially in front of my sketches for Druet, where it is for me to really say what it must say, and not to represent objects. […] Comparisons make me think that I mean to Farcy [Pierre-André Farcy, the curator of the Grenoble museum] The (amazing) appearance of the white rooster stuck on the walls of the rue de la Grande Chaumière… ”

 

V. Paris. November 26, 1910. Flandrin enthuses for his decorative projects and his painting work: “… I had lunch, lately, with the Bouchayer and we discussed firm; It reminded me of our good Grenoble evenings. I saw with great pleasure all his series of ravier, admirably lit in his entrance hall. This is a very perfect simple t arrangement of a long and narrow space. I will make him 3 narrow panels for the top doors. That of the dining room (where I want to make a big still life with a amazing Buddha that I have) and both of the gallery where I will make landscapes of the valley [Flandrin draws here two sketches, in plan and in perspective, of the place described]. Here, I have my canvases for the Druet decoration, but I still finish my sketches, which will be better than wading on the big paintings. I will start as if I shouldn't change anything, then I will then see what to do. I think you have received the paint boxes in good port. I was shaking for the windows; Did they arrive entirely? … ”

 

VI. Paris. December 18, 1910. Flandrin promises his lithographs to his friend before proclaiming his admiration for Hokusai: "... I do not forget your litho, I only wait for the printer telling me that he prepared my litho (sketch of 1909) for which I ready Chinen and Holland in the tank and old Japan. Without prejudging the future, you know that I will keep you what I will feel best in the table. […] I have to get into the habit of wishing to do beautiful things, very happy to get there without wanting to enjoy it alone. […] Seeing the Chauchard collection yesterday, I thought, by stopping only in Corot, at the old Hokusai saying that it was only 70 years that he had understood the drawing. […] For the rest, apart from a few pastels of millet, a beautiful Delacroix “hunt for tigers”, it is a heap of old culted tones, of little bill, of complete ignorance of the real drawing, of theo Rousseau that I still do not like at all and the rest, worse. I saw by passing, a painting by Egypt of Gentile Bellini brother of Giovanni Bellini, it is much closer to us than the 1830, and the Véronèse and, before, Mantegna etc. And then I have the 100 views of Hokusai's Fuji-Yama there, and that demolishes us all.

 

VII. Paris. December 31, 1910. The end of the year pushes the artist to make a point on his pictorial evolution and on his own learning: "... This is how painting says what no word teaches, we can say, and why we invented it. Step by step, I try to get there, it seems to me that this year ends up with one more step: a feeling that I have to see a little clearer in the problem of full drawing , of the alliance of the stain with the line […] I made the test in quick sketches and I saw that the line is certainly a way to express but that, supplemented by the stain, it makes 100 for one. […] But that is too said. You have to do ... "

 

VIII. Paris. February 28, 1911. “… The painting I do not even have time to put all my concentration of mind. These are the longer days that will allow more work […] and say that in the past, one of my friends in Paris said to me: “Are you happy, the painters! When the night comes, your day is over, and you just have to smoke juga quietly.” " The letter continues on March 2: " ... In the middle of my hassle of train canvases, I hope to the happiness to start others; It would be wiser to finish the first. I will allow myself at least studies on nature from time to time ... "

 

IX. Paris. March 26, 1911. The painting of Monticelli: “… Yesterday at Druet, I looked at what he has of Monticelli ; Unfortunately, I did not see one that I remembered and which had enough similarities with yours. […] From an invoic point of view, yours is made entirely in the fresh and certainly at once, and he had to do a lot like that, to sell. […] I persist, under this quickly aspect, to find truths of painting and drawing and general poetry that does not displease me at all . […] He is there, at the moment, next to a small Odilon Redon that I bought in Montmartre […] and he does not blush from the neighborhood… ”

 

X. Paris. April 4, 1911. Alfred Rome has just acquired a work by Toulouse-Lautrec: "... I know your Lautrec well, he appeared last year at the exhibition organized at Georges Petit, it is very good Lautrec enhanced with charming spots (I remember, among other things, a very laautrec verones green). As for the duration of this, compared to painting, I think it will brave a lot of centuries , and since it has been done, it has taken its final appearance. " Flandrin then evokes a series of false Monticelli with false signatures before evoking his own work and his preparation at the Salon des Independents :" I drink closed on both sides, for the self -employed. I am having fun with riders (canvas of 1.80) with wood. I would like to get there an accent of truth, movement and light, which is all the originality… ”

  

XI. Paris. July 22, 1911. "... I got rid of my brain a little by finishing and delivering to Bouchayer its two length panels , sunset setting on the Alps and opposite, from the same point, turning around, gold clouds above the Rachais [Flandrin draws here, in the ink, the two horizontal panels of 3 meters long]. Bringing back on souvenirs and vacation notes, they contented their owner and will adorn (I hope) a future gallery full of ravier , in the new apartment they have built avenue Kleber. But if I told you a little about your commissions. For the Lautrec, I went to Molini twice, still on a trip, where I left my card. I took information from Bernheim to Fénéon, who, very complacent, sought in the files. Sold for sale (I don't remember!), It was bought 1050 by the Bernheim and sold immediately, without a name for buyer. […] For Matisse, whom I met recently, I hope to have the opportunity to go home by force. Finally, it is to try ... "

 

XII. Paris. November 29, 1911. Alfred Rome has just acquired Flandrin canvases: "Thank you for your good letter which reassures me on the arrival of my paintings and doubly thank you for the purchase and the compliments. I am happy with your choice which will not make me too shame at home. […] Yes, I have a lot to do, and I would like to do it freely , with the idea that I will not show any of that! And with this dirty yellow fog, what I want to finish in the moment does not advance. Let's get to serious questions: do you have Uhde's book on the customs officer [Rousseau]? [Flandrin crunches here the cover of the book published by Eugène Figuière]. Remember of course that it is a German who writes that and that it is serious. But it's very good anyway, and reproductions too. And then, what, he knows this German! It was he who has my sleeper with two hinds, and Mozart on the piano, then! … ”

 

XIII. Paris. January 21, 1912. Flandrin prepares the Salon des Independents: "... I will not forget you in my engraving tests (original engraving, of course!). And I will try to best solve these Russian dances. I also intend to resume, helped by nature, a large canvas that remained by train, long canvas, bucolic genre, sleeping harvester , man and child, harvester in the distance in the sun. I will keep you posted, because I will try to have ready for the self -employed. I will, I think, have fun ... "

 

XIV. Paris. [21] February 1912. " That is made, the painting is marked sold. We will make as little as possible; Immediately the closure will leave. It is also the choice of François! I think it would be the unanimous choice? Thank you again… "

  

XV. Paris. February 22, 1912. Flandrin is delighted with the success of his exhibition and, without false modesty, the sale in Rome of his painting: "I will first tell you, for my account that I am delighted to see that it is the pearl of the exhibition that is intended for you. I only wanted this since I had seen, like friends, this miracle of a last work, in a room of masterpieces, more sweet and always stronger. It is the canvas entitled “The three roses (bathers)“. I believe, moreover, that photography could not make all the youth of this flesh, where color plays such a big role. […] It is a square canvas, of 1.30 out of 1.30 (and the price, a thousand francs , that the modesty of the author can never be resolved to write! Alas, a Flandrin spreads avenue de l'Opéra at 7000! Oh derision!) […] Besides, the exhibition is a fairy palace and from young people ( this will make me young cubiste lhote ) Do not hide their pleasure is unanimous. Do you know the reflection of several amateurs? “I have a crazy desire to buy something but I am afraid to file my collection at low!” One said: “There are just my Renoir and my monet that would resist.” … ”

 

XVI. Paris. February 28, 1912. Magnificent card written on the sidelines of the sketch, in pencil, of three female nudes according to Jacqueline Marval: “My dear Rome, this is the sketch requested ; But with what pain. It is improbable to draw, more than Raphaël and in the genre, of the rest! About the little Marval, who has a whole story, and which I have long looked at a pearl. The table will be packed on its own, in a screw box, with Louis XVI frame, old genus. »»

 

XVII. Paris. March 5, 1912. Flandrin sent the table acquired by Rome to Grenoble at the show: “The table left yesterday March 4. I hope that the little sketch will have calmed your legitimate impatience a little. He continued to make envious until closing ... "

 

XVIII. Paris. May 13, 1912. “My dear Rome is not yet a very big letter, but at least the answer to your request. The orange dancer, worked until the last moment, without knowing the result well, was included in the Lot Druet ; It is a fairly important canvas (like the 3 roses) that he has a little intended to keep it to let it be made. So he put it at 4000 ^fr . I don't have a photo for the moment. The test having successfully succeeded, it undertakes me to push another of the same moment, corner of the masked ball, to which I will dare to attack myself. I promise you, if it works to show it to you first and without committing yourself in no way of course ... "

 

XIX. Paris. May 27, 1912. “Count on me to choose a beautiful canvas on the Russians. That of the exhibition is simply the barely larger rehearsal of the small sketch that you had seen in Corenc, blue, green and red. […] I prepare to start the large Bouchayer panel. It will be a pleasure to trace the large slopes of the Alps over 5 meters of development ; He will seem to have tourism… ”

 

XX. Paris. August 29, 1912. Flandrin fights against the pangs of creation: " ... painting is increasingly difficult!" […] What consoles me is that it is necessary to be roughly stubborn to come out honorably with a canvas […] I laughed yesterday to see the boy of my supervisor coming to learn from the day when we would wear the picture in the living room! I had just dropped all my chain of Alps 10 centimeters by 5m long. […] Simultaneously for two months, I have suffered the same martyr on a canvas of 50 , young Italian with a calm figure sitting in an armchair […] it seems to me that I only learn the job of painter and why there is bad painting ... more than good.

 

XXI. Paris. January 7, 1913. After advising his correspondent in terms of decoration, Flandrin promises him a Maurice Denis and informs him of a fairground exhibition: “It is understood for your committee. I will try to find something, like Maurice Denis who continues his qualities well. I was thinking of you yesterday, seeing that opening up to the decorative arts. A fairground exhibition. Yours would certainly make good figure there… ”

 

XXII. Paris. May 14, 1913. “I decided to thank you for your letter and the two pretty photos of Cézanne. It looks like two pretty studies rather of what I would call the 3rd ^period if not the end . The very first is the time made from black and black green, then the 2 ^nd the beautiful period rather loaded with pasta, at least in extensive things; The third is stronger in that it gets more harmony and expression with easy means, as written on the brush. […] Certainly all the artist's progress must lead him to express strongly in depth, everything being built in the air. […] A visit to the Champs Élysées filled me with shame at the thought that I was, too, painter! … ”

 

XXIII. Paris. June 28, 1913. About Russian ballet: “You do not observe me in the least with your Russian ballet. You can be assured that I will use it shortly, seeking to make it good reflections on painting, […]. I think back to the landscape of Van Gogh, [Flandrin draws said painting by Van Gogh] of old masures with a blue hillside, a green sky Véronèse, old stairs with pure light yellow reflections, an old purple and crimson pink barrier, etc. etc. The pure cobalt hillsides. Well each line, even the smallest, each tone, are a miracle of truth and the colleagues even Renoir looks a bit of a pipe and a bit of a bouguereau drawing. Below there is a Cézanne which is not pipe juice, but a little blue laundry, finally, it's good to be difficult ”.

 

XXIV. Paris. November 1913. Flandrin received by Ambroise Vollard: “ I am finally rid of my canvas of Autumn Salon, went to Vollard. He received me overflowing with kindness ; For a bear, it was a well licked bear. […] He made a book on Degas, 96 or 98 drawings that were able to pass him in his hands […] glance in the cellars of the Autumn Salon, 2 Van Dongen, no, no, not packaging at all.

 

XXV. Paris. November 15, 1913. "You do well to remind me of the Vallotton engraving, I take care of it without fail. […] Time lasts us that the arrangement work of our new workshops are ready ... ”

  

XXVI. Paris. November 20, 191 [?]. "... Attached your Bernheim letter. I can only commit you to accept their proposal to put your canvas at home, because I do not know who I would offer it and it would certainly be to depreciate it to run unknown stores with it under the arm. » Flandrin evokes a canvas of jugken damaged by a supervisor, then returns to the canvas of Rome:“ Let us hope that your painting will have good effect at Bernheim; She will certainly be well in the window… ”

 

XXVII. Paris. November 21, 1913. Alfred Rome wants to buy a work by Van Dongen at Bernheim. Flandrin draws the window and the riot of the exhibition to him: “Always late to answer you, but the Farcy having left so quickly that I could not go with him to Bernheim to see the Van Dongen. I understand your embarrassment. Is that the trade (art!) Collector is not a sinecure. […] There was this moment, all evening, a small Parisian painting that I would like to be able to draw you: the Bernheim window, and the popular riot! [Flandrin draws here the gallery, drowned by visitors, view from the outside] All that for a nice little van Dongen , van Dongen Egyptian painting: a princess look under a parasol held by a smiling next, a beautiful white donkey, an opal necklace with the neck [...] the pensioner (written on the base), all that van Dongen! Of course and deliciously sassy! And boulevard, boulevard de la Madeleine, doesn't understand that! … ”

 

XXVIII. Paris. December 19, 1913. " ... I want to be a long patience since it replaces the genius . If at least we never did only exciting things like this little idol! […] I did not dare to face Forain because I was told that he was currently stories with a gentleman who wants to make him sign his old portrait. And it doesn't work. Bad tongues say it is to take over the painting … ”

 

XXIX . Paris. January 29, 1914. “… I forgot to send you my best wishes, as to Madame Rome. It is to believe that art absorbs me entirely ! I would like it! And calmly, but the earth turns! Turn! At least in Paris. Isn't that there that the self-employed already call us? Goodbye winter. It will therefore be a spring exhibition, at Fenoglio. […] I will receive the van Dongen with pleasure. Here, Lautrec at Rosenberg as new, but always more admirable than ever. At the first meeting, I will cause our business with Maurice Denis and will keep you posted. Nothing new for the Cézanne de Vollard book… ”

 

XXX. Paris. February 5, 1914. “... I think I told you about the Matisse painting. The merchant had to send it to me to make it a sketch if it was available. If I have a moment these days I will spend flawlessly. I am told that at Blot, there are small old marquets with very very good. […] The Matisse was a bit of that time, the Arcueil aqueduct, seen from the road, with high sun houses. [Flandrin draws the said table of Matisse]. I made an almost pastel of this place with Marquet. Marquet had done a study there, it is the year then I think he returned there with Matisse . […] At the moment Segonzac exhibition. The tick public again because it is too strong for him… ”

 

XXXI. Paris. February 14, 1914. “… A little hello, running, about the little Matisse. The merchant brought it to me and I made him undergo, these days the test of the hanging. [Flandrin draws a hanging scene where the painting of Matisse is surrounded by canvases of Denis, Redon, Calès, and Espagnat] he is doing my faith very well , so I intend to make him make a little box, a small insurance, a small trip and if you have a small place and a small nail, do like me. The characteristic of Matisse's painting is to judge yourself only with the eyes. You have to look at it as we see the good weather through the window. […] I went out of curiosity to Blot, ask him for the price of her little marquets (justly done at the same time). A small, very small field of wheat, wall in the shade, like the Matisse, 1000 ^fr . It's for nothing. This is to say that the 800 ^FR of the Matisse are a minimum […] And then, it is history! Michel Ange, Matisse, Marquet, Marval! … ”

 

XXXII. Paris. February 22, 1914. Flandrin sent the Matisse promised to Rome and details a sculpture discovered at the Salon des Independents: "... I finally put the table of Matisse last night at the declared value parcels ! […] I had told you about marquet only as a point of comparison and not to make you buy it. I will make your proposal to Maurice Denis when I see him and like a graceful friend of a friend, I hope it will go. The opening of the self -employed will distract for a moment and I will seek new features there. In any case, I saw a sculpture! […] The flay of Michelangelo who stands , you know, built in pipes, scrolls, backgrounds, etc., cards covered with an unpaid extra synchromist polychromy! […] There are even a piano touches in a place !! [Flandrin draws details of the said sculpture]… ”

 

XXXIII. Paris. March 16, 1914. The assassination of Gaston Calmette and the Cubist Épubrations: "... I send you the receipt of the 800 francs in the Matisse. […] You must have read, in the Bernheim bulletin, that the book of Coquiot will appear. Vollard would do well not to be languished either, with his Cézanne ... I was going to continue to cause painting; I hear the consumers of the Lilac Closerie say that Mrs. Caillaux has just drawn calm [the director of the Figaro] with a revolver !! Here is Paris! What headlines for newspapers tomorrow morning. […] Art softens the customs, because the terrible Cubists are satisfied with punches … ”

 

XXXIV. Paris. April 6, 1914. "... at the same time as a hello, a word to recommend that you do not buy the Gazette des Beaux-Arts, I will have two numbers that I will send you with the tests of the different prints ..." are drawn at the top of the letter, two female busts in the style of Kees Van Dongen: "The best memories of all van Dongen . »»

 

XXXV. Paris. July 25, 1914. Flandrin prepares the illustration of an official banquet menu at the request of Rome: "…. I hope to be satisfied because it is a more difficult business than it looks like. »»

  

XXXVI. Paris. September 15, 1914. The First World War started: "... You make me remind me that I promised you my etching. Naturally, we have a tendency to think as little as possible about warning things, it is instinctive. However, the turn of events, while waiting for it to assert itself, is well done to leave a moment of respite and return to the things of peace. The enemy no longer hides its intentions, destroy France or die… ”

  

XXXVII. Of the front. February 8, 1916. Flandrin is on the warfront. Despite the Boches, his thoughts still go to his painting and art: " The most painful, for the moment, of my trip to the front has stayed almost 15 days without any new. Finally, having a temporarily fixed address, I was able to start receiving it. It is therefore in my turn to send it. I said an address temporarily fixed because in our Vaison group we were half a class too old to appear in the front line troop. […] It gave us the pleasure of feeling the boches nearby, I just shot them. […] The time has fortunately been conducive to this approach on which we did not count. […] I got news from Paris. […] Ms. Druet temporarily continues her husband's trade with someone to help her. […] Thanks to Mrs. Marval [her partner Jacqueline Marval] I will still have two canvases at the Triennale exhibition at the Tuileries , including the big afternoon landscape in the Paviria of the Pavilion that I did on nature 2 years ago, do you remember? […] Here, the sunny sketches have been replaced by portraits of friends in pencil. If I change garrison, I will hide my talents, we abuse it quickly. Receive Dear Friend, as well as Mrs. Rome, my best memories of the front… ”

  

XXXVIII. Paris. June 24, 1918. Flandrin enthusiastically defends the qualities of painter of his partner Jacqueline Marval: “… Mme Marval having come to spend two days in Paris to finally see her portrait. The impression was good, it is important. The other important above all is that the exhibition ends and that I can take care of the shipment: she had not told you about the price, I believe, which is 4000F. But it is first of all that the table is coming . […] I would fear, really, by a photographic reproduction, not to give you the total impression of the work […] It is really in its most fresh painting, the current personalization of Mrs. Marval, and of all that has mysterious, in its strength, its genius. Yesterday, we searched its various workshops where the efforts, the treasures of 20 years of work accumulate. What do I have a museum to get all this out of dust. But my eye. I chipped it (with authorization), for you, the very small setting sun in Luxembourg of the first year of painting […] It is a small piece of gold. Table as for the Chardin to find him a small old setting. […] The momentary tranquility of Paris allowed me to get back to work […] that I thank you for the choice of the landscape on the bench. I had the temptation to win in Paris, but currently it was hardly logical ... "

  

XXXIX. Paris. July 9, 1918. “… I will see what the painting gives on a small black plate. But, be quiet, he still radiates there as he will be at home. I returned to see him again yesterday, and like the beautiful things, he seemed to me again embellished. […] I finish close two large decorative panels for aviation! … ”

 

XL. Paris. July 16, 1918. Painting, always, despite the war: "I send you as luggage of a friend going to Grenoble the box containing the model for a decoration you are waiting for. […] The original is like a superb jewels, pearl, opal, amethyst, embedded in lapis and turquoise […] You think if I am with interest the offensive. It happens in the middle of my cagas 2 years head -on… ”

  

XLI. Paris. November 12, 1918. The day after the armistice, Flandrin is delighted with the French victory and describes joy in the streets of Paris: "... to the whirlwind of work, was added that of events, to a cataclysm pace. The thrones collapse, and that's the victory, as we dared not dream. Paris yesterday was incredible, the glee unleashed, the Parisians in turmoil, by the thousands, invaded the boulevards, the cannons dragged in the crowd […] two beautiful golden crowns at the fronts of Metz and Strasbourg, as a note that only allows such a deliverance. Today in newspapers, the conditions, and the unforgettable speech of Clemenceau. I'm going back to the boulevards this afternoon ... "

 

XLII. Paris. August 24, 1922. "Thank you for your little word for Paul Léon. I hope that my exhibition of the fall fair will reassure him on a possible order. […] I drink hard here for the fall fair… ”

 

XLIII. Paris. November 4, 1922. "This little word, with my friendships to all at home, to share a small commission from you. I had the visit of a Pole (from Mercereau the literator, I believe) with a small painting of the first Russian ballets, that he would like to sell 600F. I want to make slight touch -ups and it would be at the point. Can you tell me by mail if Cal would suit you. The price is tempting. […] The fall fair may have a better time than at the beginning. Very beautiful portrait Marval, n ° 1. They say, I believe, that I have some landscaper successes ! … ”

__________________________________________________________

 

Jules Flandrin entered the workshop of Gustave Moreau in 1895, becoming the Condemiple de Matisse, Marquet, Camoin and Rouault.

Landscape painter, intimate scenes and still lifes; His free expression allows him to approach different genres with ease. He is influenced by the richness and variety of currents of modern painting: Impressionist posts, Nabis (his friends Maurice Denis, Bonnard, Sérusier) to go to Fauvism with Matisse, his friends. In Paris, his favorite subjects are the animated show of the streets or the edges of the Seine, which he treats in a vein fairly close to his Marquet friend.

Companion of Jacqueline Marval, he gives her a taste for painting. We owe him the introduction of many artists to Pierre-André Farcy (known as Andry-Farcy) who, who became a curator of the Grenoble museum in 1919, will never cease to bring modern art into it to make the institution a flagship of national culture.

As early as 1897, the canvases of Jules Léon Flandrin were accepted at the Champs de Mars fair and in 1898, he became one of the youngest members of the National Society of Fine Arts. He discovered the Russian ballets when they arrived in Paris in 1909 with Nijinski, Pavlova, La Karsavina.

He participated in several international exhibitions: in 1910 in London (Stafford Gallery with the Neo Impressionists, in 1913 in Interlaken, Berlin and Munich.

Appointed members of the Autumn Salon, in 1911, he executed various orders for the State.