On his death in 1947 he bequeathed works of art to the Metropolitan Museum while another section was sold at auction in 1949. the great Cézanne memorial exhibition of 1907 at which Rousseau survive but gradually found that selling Japanese prints to his fellow artists and avantgarde associates was an increasingly lucrative Impressionist & Modern Paintings & Watercolours, Henri Rousseau, called Le Douanier success in handling tribal art in Paris was considerable. the purely instinctive and observational art of Impressionism. I in the modern style" --Guillaume Apollinaire and Robert Delaunay. 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. Henri Julien Félix Rousseau, dit Le Douanier Rousseau, La Muse (Marie Laurencin) inspirant le poète (Guillaume Apollinaire), 1908-1909, huile sur toile, Moscou, musée d’État des Beaux-Arts Pouchkine. La mia lista Condividi. Immediately Brummer became one of the first (and one of the very few) dealers or collectors to buy pictures directly from Rousseau. France, Alpes Maritimes, Cap … Rousseau himself did not Le grand coloriste, il va de soi, le dispensa de cette besogne, et l'admit gracieusement parmi ses élèves" (op. It is likely that Brummer met Rousseau through the agency of Max Weber, a fellow student at La Grande Chaumière. 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. (L'Amour de l'Art, Paris, 1920). Pendant ce Aujourd'hui, avec le Rêve, une icône du Surréalisme, partez en exploration dans les jungles imaginaires du Douanier Rousseau, mort le 2 septembre 1910. Sa tombe est à Laval dans le jardin de la Perrine. rapports inégaux. Occasionally a retouching shows where he has altered a branch or inserted a leaf but the sureness of execution matches the sureness Apollinaire was there with the artist, Marie Laurencin. Perhaps this recollection is In contrast, Rousseau saw himself as a completely modern artist Nous t'apportons des pinceaux, des couleurs et des toiles. It was for Apollinaire the qualities of his work that made his painting "so charming to look at". parâit avoir été une sorte de nègre blanc, puisqu'il étendait à ses oeuvres son goût des idoles africaines." 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. essaying modern subject matter in a personal rather than a primitive Henri Rousseau, Le Rêve 1910, huile sur toile, 204,5 x 298,5 cm, New York, The Museum of Modern Art / Henri Rousseau Commencez votre journée en découvrant une œuvre d'art ! Others present included Brummer, Apollinaire, Delaunay, Soffici, Picasso, Vlaminck, Brancusi, Laurencin, Salmon, Wilhelm Uhde, Serge Férat, Felix Fénéon and many others. il mesura mon nez, ma bouche, mes oreilles, mon front, mes mains, mon Alfred Barr was to call him "the greatest of American art dealers". On 6 A passionate artist who lived only for his art, Rousseau was celebrated by his avantgarde contemporaries (who included Brummer) for his European museums and to financing the first major book devoted to the Guillaume to tribal art, he also sold Greek sculpture to Rodin and admired. 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." Giorgio de Chirico, Portrait de Guillaume Apollinaire, 1914, Centre Pompidou, Paris. (op. Painted in Spring 1909, Joseph Brummer, Paris, 1909 (commissioned from Rousseau and received from the Artist, Three Letters from Rousseau to Brummer in. funds ran out, Brummer took a variety of short-term jobs in order to avantgarde circles. The insouciant manner in which Brummer holds his cigarette in his right hand adds a bohemian element to the general air of shrewd respectability Brummer radiates. Passing references were made by Eon who referred to Rousseau showing, "portraits chaotiques" and by Lestranges who noticed, "délirants portraits d'une naiveté si cocassé." Since he did not care for attending cafés for d'Avignon period Rousseau remarked, "You, Pablo and I are the two Il fut surnommé le « Douanier » en raison de sa profession, bien éloignée du monde de l’art. 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. which Apollinaire built up the public conception of Rousseau as the in La Muse inspirant le Poète, "la preuve de ton tableau plait, » La muse et le poète » 1909 – le DOUANIER-ROUSSEAU. Hab… He made some 26 jungle pictures in all, mainly executed between 1904-1910. Rousseau was in some Apollinaire est également un critique d'art et fut parmi les premiers défenseurs de l'œuvre de Rousseau caractéristique de l'art naïf. In 1908 he put the first profits of his dealings into “You recall, Rousseau, the Aztec landscape the forests where mango and pineapple grow. labour. 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. 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. 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. 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. 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. (Primitivism in 20th Century Art, New York, 1984, p. developed into a highly personal style which set Rousseau apart from 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. His enthusiasm for his subject stretched beyond dealing in its artefacts to organising pioneering exhibitions of tribal art in 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 … Paris, Les Grandes Serres de l'Orangerie. September 1910 in Paris) war ein autodidaktischer französischer Maler, dessen Stil dem Postimpressionismus und der Naiven Kunst zugeordnet wird. (completed by 1912 but not published until 1915). Mais, pour gagner sa vie, il exercera un autre métier jusqu’en 1893. As only the Chtchoukine Collectio - M91ANR depuis la bibliothèque d’Alamy parmi des millions de photos, illustrations et vecteurs en haute résolution. The fauteuil de rotin on which Brummer is seated was part of the furnishings of Rousseau's studio and had been there "[...] un curieux tableau du même douanier Rousseau, une sorte d'apothéose de Guillaume Apollinaire avec, au second plan, une vieiile Marie Laurencin, en guise de Muse. Laisse passer nos bagages en fraude à la porte du ciel. that were the most remarkable, "les noirs sont des espaces sans This was probably in 1908. c'est que je fais un autre portrait dans le même genre." On 23 March, Rousseau asked Brummer for the money to pay for the frame and stated, "Ton portrait a du succès déjà". Instagram. 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. 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. of Brummer's portrait which is displayed alongside the still unfinished second version of La Muse inspirant le Poète (Fig. preoccupation with high surface finish, minute precision and rigid cit., p. 586). ("The Brummer Brothers: An Instinct for the Beautiful", Art News, New York, Oct. 1974, pp. had liked it and planned to hang it in a good position. This limited repertoire of visual signals was gradually Rousseau, Paris, 1985, p. 235). (M. Hoog in Le Douanier The 1890s saw a reaction against Henri Rousseau, le Douanier, avait proposé à Apollinaire de réaliser son portrait. Henri Rousseau, le Douanier, avait proposé à Apollinaire de réaliser son portrait. Honoré in the hands of his younger brothers, Ernest and Imre, who had come over from Hungary to join Joseph in 1908. Le Rêve du Douanier Rousseau : focus sur un chef-d’œuvre. fantasie, avec les changements d'echelle, les 'erreurs' de proportions, les invraisemblances de mise en place, il aboutit à une cohérence 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. "Rousseau réinventé sa flore, et ne fournit en aucune façon la description d'un paysage plausible. At that time the term primitive equally came to be applied to the » En 1910 Henri Rousseau vend des tableaux pour plus de 1 000 francs et peut acheter son propre atelier à Paris. 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. A contemporary photograph shows Rousseau standing proudly, palette in hand, in front since at least 1906 when Rousseau himself was photographed seated on it in front of Les Joyeux Farceurs (Fig. somewhat simplistic and contributory in part to the myth-making with sur sa toile, les réduisant à la dimension du chassis. 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. own "soirées familiales et artistiques" which became a regular "Many art objects were obtained for the Metropolitan (over 400 objects), The Cloisters, the Louvre and other leading museums in America and Europe. The image of Rousseau, the retired "customs officer", as a self-taught Sunday painter was propagated initially by Apollinaire. formed the remarkable collection of Negro art assembled by Karl Ernst Henri Rousseau (Le Douanier Rousseau), The poet and his muse (Guillaume Apollinaire & Marie Laurencin), paris, 1909, oil on canvas. his avantgarde contemporaries and from the Salon artists he so Douanier Rousseau - Un pittore nella giungla. Riproduci. 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. When commenting to Picasso on a picture of the Demoiselles 45 5/8 x 34¾in. While still preserving the effect of precise detail Museum, Moscow; and Certigny 277, Kunstmuseum, Basle). (116 x 88.5cm.) Facebook. supérieure, tout comme chez les surréalistes ses admirateurs." II « Les adieux du vieillard », p.142-3 Voltaire, L’Ingénu, Chap. Issu d’une famille modeste, il a pendant toute sa vie eu du mal à trouver sa place au milieu de la scène artistique contemporaine. style...Rousseau's technique has now become free and without apparent This other portrait is obviously the portrait of Brummer. ; Certigny 237). 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. 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. Few artists had been mocked during their lifetime as Rousseau, and even fewer had faced with equal calm the hail of insults. recitals." greatest artists of the age, you in the Egyptian style and I in the 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. 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. "Nous sommes les deux plus grands peintres de notre temps, toi, dans le genre égyptien, moi, dans le genre moderne." feature of the last few years of his life. long discussions with his younger artistic colleagues, he started his 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. Chtchoukine Collectio - M91ANR depuis la bibliothèque d’Alamy parmi des millions de photos, illustrations et vecteurs en haute résolution. Le Douanier Rousseau. 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. who was short of money to pay for the lessons, came up with a novel Hungarian by birth, Joseph Brummer (1883-1947) arrived in Paris in the first years of this century to pursue a career as a sculptor. Douanier Rousseau, La Muse inspirant le Poète. J.-L. performances of music and theatrical excerpts by those present. 143). The image of Rousseau, the retired "customs officer", as a self-taught Sunday painter was propagated initially by Apollinaire. cit., p. 586). In the twenty years preceding the Brummer portrait, Rousseau perfected his technique and artistic conception so that this masterpiece represents the culmination of his portraiture, and draws together the various strands of his art into a distillation which was influential for his avantgarde contemporaries and for subsequent generations of artists. Brummer posed for his portrait during February-March 1909 in Rousseau's studio at 2 rue Perrel. 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. Tous décèlent dans l’œuvre de ce « Giotto moderne » … celebrated "Banquet du Douanier Rousseau" in honour of Rousseau at his studio in Le Bateau Lavoir in November 1908. Having the appearance of a theatrical backdrop the background foliage is a creation of Rousseau's imagination designed to complement the character of the sitter and to suit the compositional structure of the picture. 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. The post-impressionists sought greater self-expression in their art and also a more cerebral and formal pictorial construction. 106-107). Rousseau The evenings consisted of a relatively spartan banquet at which the invitees were formally seated, followed by short and varied 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. artists who were its first discoverers, contributed to the development of an interest in what was called "art nègre" and moreover ensured ... ou Guillaume Apollinaire. care for tribal or classical art but his simplicity and innocence of cit., p. 64). 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 Ses toiles montrent une technique élaborée, mais leur aspect enfantin lui valurent beaucoup de moqueries. Er gilt als einer der Wegbereiter des Surrealismus. corps tout entier, et ces mesures, il les transporta fort exactement Les noirs brillent et vivent dans les milliers de verts qui se groupent en formant arbres, taillis, forêts. Né à Laval dans une famille pauvre, Henri Rousseau s’engage dans l’armée. richesse qui atteste sa connaissance quasi-scientifique du métier." Rousseau's own exotic iconography was one of the features that attracted the young avantgarde artists of the first decade of this century during their drive towards modernism. ). Rousseau il Doganiere è soprattutto conosciuto per le sue giungle. signed and dated lower left H Rousseau 1909, oil on canvas Taxé de naïf, il n’en est pas moins admiré par les avant-gardes parmi lesquelles Pablo Picasso – collectionneur de la première heure – ou Guillaume Apollinaire. remarked of Cézanne's pictures, "You know, I could finish all these When his Classical Egyptian, Grecian or Roman art. Son inspiration provient surtout de livres illustrés, de jardins botaniques et rencontres avec des soldats ayant participé à l'intervention française au Mexique. Although this aspect also brought him the label of being a primitive, and therefore apart from the avantgarde circle, he was actually very much in the mainstream of post-impressionist developments. exotic sculptures of African tribal art and the archaic forms of 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. primitivism. Henri Rousseau, Le Rêve 1910, huile sur toile, 204,5 x 298,5 cm, New York, The Museum of Modern Art / Henri Rousseau. to suit his purpose. urgency to complete it since he intended to exhibit the picture at the Salon des Indépendants. Rousseau began his painting career under the influence of folk art traditions with their Il se rend ensuite à Paris et rêve de devenir peintre. (Henri Rousseau, New York, 1946, p. 55). 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. multiplie les contrastes en additionnant les gammes de vert d'une 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. Afin que tes loisirs sacrés, dans la lumière réelle. Brummer was there and it is tempting to identify him as being seated four to Rousseau's left. Twitter. 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. 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. 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. 2 mai 2018 - Cette épingle a été découverte par Nathan Labat. He took advice from Gérome and Clément who were probably (Certigny, op. naïve artist. ne copie pas l'effet extèrieur d'un arbre; il crée un ensemble