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Académie de La Palette

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Paris Montmartre, ca.1900, Le Boulevard de Clichy et le Moulin-Rouge, 18th arrondissement of Paris. The Académie de La Palette, 104 Bld de Clichy, would be located toward the center of the photograph

Académie de La Palette, also called Académie La Palette and La Palette, (English: Palette Academy), was a private art school in Paris, France, active between 1888 and 1914, aimed at promoting 'conciliation entre la liberté et le respect de la tradition.'

Early on the Académie de La Palette developed a reputation as a progressive art school. In 1902, when Jacques-Émile Blanche took over the direction of the school, the concept had been 'any attempt at imitation are now abandoned' . From 1912, when Henri Le Fauconnier and Jean Metzinger took over the direction of the school, the role of the Académie de La Palette as the nexus for the avant-garde at the forefront of the Parisian art scene was secured.

History

Paris, ca.1900, Rue de l'Arivée, Avenue du Maine, Montparnasse, 15th arrondissement of Paris

From 1900 to 1914 many academies were formed in Paris under the direction of well-known established artists, such as the Académie Matisse, Académie Alexander Archipenko, Académie de la Grande Chaumière, Académie Humbert, Académie Ranson, Académie Russe de Peinture et de Sculpture, Académie Vasilieff, and Académie Vitti. These schools had for competition not only each other but those already established academies that had become popular prior to the 1900s such as Académie de La Palette, Académie Julien, Académie Colarossi and the vast École nationale supérieure des Beaux-Arts.

According to some sources, the Académie de La Palette was originally located in Montparnasse, Rue de l'Arrivée in the 15th arrondissement of Paris, and may have had as founder the Swiss painter Martha Stettler, linking it to the Académie de la Grande Chaumière, also founded by Stettler. It remains unclear exactly when the academy was founded.

According to another source, the artist Fernand Cormon founded an art school in 1882 by the name of Atelier Cormon, at 10 rue Constance in Paris. In 1888 the academy moved to 104 Boulevard de Clichy in the 18th arrondissement of Paris where is became known as Académie de La Palette. At that location Eugène Carrière became a professor, along with Pierre Puvis de Chavannes. At that time artists such as Santiago Rusiñol studied at La Palette under Henri Gervex.

Paris, ca.1900, La Rue du Val-de-Grâce, 5th arrondissement of Paris

The art school, subsequently relocated to 18 rue du Val-de-Grâce in the 5th arrondissement of Paris. Between 1902 and 1911 Jacques-Émile Blanche directed the academy; his bilingualism attracting many English and North American students seeking exposure to the latest avant-garde tendencies. Under his tutelage instruction was offered in both French and English. Teachers during the early years included Lucien Simon, Charles Cottet, Georges Desvallières, who co-founded the Salon d'Automne, Edmond Aman-Jean, Lucien Simon, Charles-François-Prosper Guérin, René François Xavier Prinet (1861-1946) and others. According to a notice in the journal La Revue de France et des Pays Français (March–April 1912), Mac Neill had been the director of the school.

In 1905 the Russians Sonia Terk, Elisabeth Iwanowna Epstein and Marie Vassilieff graduated from this academy. Fellow students at La Palette included Amédée Ozenfant, André Dunoyer de Segonzac and Roger de La Fresnaye.

Eugène Carrière, 1899, Le Réveil, Le Baiser à la mère (Her Mother's Kiss), oil on canvas, 94 x 120 cm, Pushkin Museum, Moscow

February 1912 Henri Le Fauconnier was appointed to succeed Jacques-Émile Blanche as chef d'atelier. Le Fauconnier commissioned Jean Metzinger and André Dunoyer de Segonzac as full-time instructors for the morning sessions; Eugène Zak and Jean Francis Auburtin took over in the afternoon. Dunoyer de Segonzac had from 1907 attended the school and worked part-time together with John Duncan Fergusson.

At this time the academy primarily attracted French, Danish and Russian students. Some of the students known to have attended were Marcel Gromaire and Marc Chagall. In the fall of 1912 Liubov Popova and Nadezhda Udaltsova enrolled on the advice of Aleksandra Ekster, also a student of the academy. According Udaltzova, Jean Metzinger encouraged the students to the visit gallery and salons where Cubist works were exhibited. The price for a half-day classes was 40 francs per month. Metzinger's students included at La Palette Serge Charchoune, Jessica Dismorr, Nadezhda Udaltsova, Varvara Stepanova and Lyubov Popova.

Case histories

File:Varvana Stepanova, Henri Le Fauconner, Jean Metzinger, Paris 1921.jpg
Varvara Stepanova, Henri Le Fauconnier and Jean Metzinger, Paris
Marc Chagall, 1911,I and the Village, oil on canvas, 192.1 x 151.4 cm, Museum of Modern Art, New York
Sonia Delaunay, Rythme, 1938
  • Joseph Csaky in 1910 won a Scholarship in Szeged, giving him enough money to attend l'Académie de la Palette. He wrote of the direction his art had taken during the crucial years, and its relation to La Palette:

"There was no question which was my way. True, I was not alone, but in the company of several artists who came from Eastern Europe. I joined the cubists in the Académie La Palette, which became the sanctuary of the new direction in art. On my part I did not want to imitate anyone or anything. This is why I joined the cubists movement." (Joseph Csaky)

In 1911 during her last year in Europe, Thompson Zorach began classes at Académie de la Palette under Jacques-Emile Blanche and John Duncan Fergusson. The Frenchman, Blanche, was a liberal academician and successful portraitist known for his loose renderings of his friends Jean Cocteau, Virginia Woolf and Walter Richard Sickert. The Scot, Fergusson, known as the "Scottish Clourist" emphasized using bold color, impasto, brushwork and design elements. These artist/professors had a strong oimpact on Thompson as they were interested in the effects of luminosity and color, allowing her to refine her Fauvist tendencies. Jessica Dismorr attended classes at La Palette during the same period.
In 1912, she returned to Fresno and exhibited in Los Angeles. Disappointed with the poor reception of her paintings, Zorach moved to New York where she joined fellow La Palette student William Zorach whom she married later that year. In 1913, Zorach saw the work of Picasso and Braque at the Armory Show and began incorporating elements of Cubism in her work.
As a teacher at La Palette, Fergusson was crucial in the development of Thompson, more so perhaps than Blanche. Fergusson was in charge of a group that labeled themselves the "Post-Impressionists", even though they were all much closer to Fauvism stylistically.
  • Sonia Delaunay-Terk, through Max Liebermann, an acquaintance of her uncle, came into contact with the German art world and went to live in Karlsruhe in 1903. She began studying painting at the studio of Schmidt-Reuter. Two years later she furthered her training at the Académie la Palette in Montparnasse, Paris. Unhappy with the method of teaching, which she thought too critical, she spent less time at the La Palette and more time visiting galleries and museums.

Alumni

Directors

Instructors

Notable alumni

References

  1. Grace Brockington, Internationalism and the Arts in Britain and Europe at the Fin De Siecle, 2009
  2. Walter Sickert, All We Like Sheep, Art News, 14 April 1910, in Anna Gruetzner Robins, Walter Sickert: The Complete Writings on Art, p. 216. And in Grace Brockington, Internationalism and the Arts in Britain and Europe at the Fin De Siecle, p. 35
  3. Jacques-Émile Blanche, Maurice Denis, Correspondence, (1901-1939)
  4. ^ Academies in Paris, Kubisme.info (Dutch)
  5. Mark Antliff, Patricia Dee Leighten, A cubism reader: documents and criticism, 1906-1914, University of Chicago Press, Aug 1, 2008
  6. Delia Gaze, 'Concise Dictionary of Women Artists, 2013
  7. Eugène Carrière, Académie de La Palette
  8. Taylor, E.A. The Studio - Vol 84, No 353, August 1922, London.
  9. Claude Dumas, L'Homme et l'espace dans la littérature, les arts et l'histoire en Espagne et en Amérique Latine au XIXe siècle: études, Presses Univ. Septentrion, 1985
  10. William H. Robinson, Jordi Falgas, Carmen Bellon Lord, Forward by Robert Hughes, Barcelona and Modernity: Picasso, Gaudí, Miró, Dalí, The Cleveland Museum, Yale University Press, 2006
  11. Mark Antliff, Patricia Dee Leighten, A cubism reader: documents and criticism, 1906-1914, University of Chicago Press, Aug 1, 2008
  12. La Revue de France et des Pays Français (March-April 1912)
  13. Stanislaus Von Moos, Le Corbusier: Elements of a Synthesis, 2009
  14. Richard R. Brettell, Françoise Forster-Hahn, Duncan Robinson, Janis A. Tomlinson, Nineteenth and Twentieth Century European Drawings, Metropolitan Museum of Art, 2002
  15. John Golding, Cubism: A History and an Analysis, 1907-1914, Belknap Press of Harvard University Press, 1988
  16. Waterhouse & Dodd Fine Art, Jean Metzinger
  17. József Csáky, terminartors.com
  18. Edith Balas (1998). Joseph Csáky: A Pioneer of Modern Sculpture. American Philosophical Society. ISBN 978-0-87169-230-6.
  19. ^ Peggy Guggenheim Collection, Lucy Flint-Gohlke, Thomas M. Messer, Handbook, the Peggy Guggenheim Collection, Solomon R. Guggenheim Foundation, Abrams, 1983
  20. Cowling, Elizabeth; Mundy, Jennifer (1990). On Classic Ground: Picasso, Léger, de Chirico and the New Classicism 1910-1930. London: Tate Gallery. p. 198. ISBN 1-854-37043-X
  21. Judi Freeman. "Ozenfant, Amédée." Grove Art Online. Retrieved 26 November 2012.
  22. Evgeniĭ Fedorovich Kovtu, L'Avant-Garde russe, 2007
  23. 20th century, Avant Garde, fin de siècle, Streets
  24. Evgeniĭ Fedorovich Kovtun (Evgueny Kovtun), Russian Avant-Garde (Art of Century), 2007, ISBN 978-1-78042-793-5
  25. Joan M. Marte, The Grove Encyclopedia of American Art: Five-volume Set
  26. ^ Marguerite Zorach, Marguerite Zorach, Efram Laurent Burk, Clever Fresno Girl: The Travel Writings of Marguerite Thompson Zorach (1908-1915), 2008
  27. Clara, Database of Women Artists
  28. Artfact, Henri Hayden
  29. Henri Hayden, biography
  30. Museo Thyssen-Bornemisza, Sonia Delaunay
  31. Grosenick, Uta (2001). Women Artists in the 20th and 21st Century. Taschen. ISBN 3-8228-5854-4.
  32. Oxford University Press, Benezit Dictionary of British Graphic Artists and Illustrators, Volume 1

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