Maurice Réalier-Dumas
Corinne
1898

Name: Corinne
Brand: Maurice Réalier-Dumas
Price: 337.25 CHF
Availability: InStock
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About the Item

Corinne Color lithograph, 1898 Signed in the stone lower left (see photo) Published in L’Estampe Moderne with their blindstamp lower right corner, Lugt 2790 (see photo) Edition 2000 Printed by Chapenois, Paris Provenance: Stedelijk Museum Schiedam, their stamp inside of portfolio, not in Lugt (see photos) References And Exhibitions: Published in L’Estampe Moderne with their blindstamp lower right corner, Lugt 2790 Reference: Bailly-Herzberg page 354 Condition: Excellent Image: 9 x 13 1/8" Sheet: 12 1/16 x 15 3/4"; Maurice Réalier-Dumas , born in Paris onFebruary 9, 1860and died in ChatouDecember 25, 1928, is a French painter and poster artist . He is close, among other things, to the Art Nouveau movement . His younger brother is the animal sculptor André Réalier-Dumas (died in 1952). Biography Coming from an upper-middle-class family, Maurice Réalier-Dumas was the son of Pierre Paul Henri Réalier-Dumas (1834-1898), auditor at the Council of State then sub-prefect of Montbéliard and Villeneuve-sur-Lot , and Jeanne Thérèse Goubie, daughter of the Parisian stockbroker Joseph Goubie who owned the Hôtel Bonaparte. Born in Paris at 57, rue Saint-Lazare , Maurice Réalier-Dumas spent part of his childhood and adolescence in Villeneuve-sur-Lot where his father was stationed. He became friends with Georges Leygues . In 1879, he entered the Paris School of Fine Arts as a student , where he received instruction from the painter Jean-Léon Gérôme . From this time, Maurice Réalier-Dumas frequented Maison Fournaise , a restaurant- guinguette located in Chatou where his father bought a vacation home . There Maurice meets Auguste Renoir and a good number of Impressionists but especially Louise Alphonsine Papillon, the daughter of Alphonse Fournaise, the owner of the restaurant. Alphonsine Papillon quickly became a recurring subject in Renoir's works as she is believed to be depicted in the famous painting, Le Déjeuner des canotiers . But the identification of Alphonsine is subject to controversy. As such, Jean Renoir , the son of Auguste Renoir, in his book, Pierre-Auguste Renoir, mon père , wrote: “The young woman leaning [ sic ] on the balustrade is Alphonsine Fournaise, the beautiful Alphonsine as she was called regulars at his parents' restaurant. . However, this statement must be qualified since it comes from the confidences that Pierre Renoir made to his son at the end of his life. Furthermore, Jean Renoir also admits his license regarding the stories he tells about his father, in the preface to his book by writing: “History is an essentially subjective genre. Nevertheless, we find Alphonsine Papillon in a certain way in the portrait commissioned by Monsieur Fournaise from Renoir in 1875, The Lady with a Smile or Alphonsine Fournaise , preserved in the collections of the São Paulo Art Museum . Furthermore, Maurice Réalier-Dumas painted a portrait of Alphonsine Fournaise, entitled Alphonsine à l'ombrelle from 1896 (private collection). We find Alphonsine standing on a bank, dressed in a white dress and holding a parasol in her left hand. This portrait illustrates the intimate bond that could have existed between her and him. On the exterior walls of the Seine side restaurant of Maison Fournaise , you can still see a series of murals created by Maurice Réalier-Dumas and entitled The Four Ages of Life . For conservation reasons, the murals were removed and replaced by facsimiles . The originals are in the Fournaise museum which occupies the upper part of the restaurant and which traces the history of the old tavern and the artists who frequented it. Although he frequented the impressionists, Réalier-Dumas kept his distance: he chose to go on trips and drew on a form of orientalism , the style of his first noted paintings. Morocco, Tunisia, Algeria, but also Spain and Italy left a lasting impression on the painter who exhibited regularly from 1886 at the Salon of French Artists . The Ministry of Colonies solicited him and placed an order. In 1908, he received the Legion of Honor . In the meantime, he settled permanently in Chatou at 1, rue d'Epremesnil and produced in the early 1890s a series of paintings marked by impressionism ( Le Goûter sur l'herbe , 1892). If he was in turn a history painter , landscaper , orientalist , intimist , it is as a poster artist that Réalier-Dumas surprises: at the end of 1896, he joined the Society of Painters-Lithographers when he began to produce particularly elegant formats, all in height, taking up the theme of the young woman. Three of his productions are reproduced by Jules Chéret in his review Les Maîtres de l'annonce (1895-1900), namely: Incandescence par le Gaz Système Auer (1892), Champagne Jules Mumm (1895) and Société Internationale de Peinture et de sculpture Georges Petit Gallery (1897). Réalier-Dumas also contributes to the art magazine L'Estampe moderne 4 and illustrates some piano scores. In 1911, Georges Leygues, who had in the meantime become a minister, remembered their friendship and contacted him to create a large mural for the nave of the Sainte-Catherine church in Villeneuve-sur-Lot : entitled The Theory of saints — there are 66 — which he completed in 1920. Maurice Réalier-Dumas died on December 25, 1928. He bequeathed a large part of his paintings to the town of Villeneuve-sur-Lot. He is buried in the Chatou cemetery where the name of a square was given to him. Courtesy Wikipedia

Creator:

Maurice Réalier-Dumas (1860 - 1928, French)

Creation Year:

1898

Dimensions:

Height: 12.07 in (30.66 cm)Width: 15.75 in (40.01 cm)

Medium:

Lithograph

Period:

1890-1899

Condition:

With original tissue guard.

Gallery Location:

Fairlawn, OH

Reference Number:

Materials

Lithograph

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