Maurice Utrillo
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Maurice Utrillo
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Impasse Cottin, oil on cardboard by Maurice Utrillo, c. 1910; (credit: © 1993 ARS N.Y./SPADEM; photograph, Scala/Art Resource, New York)
Impasse Cottin, oil on cardboard by Maurice Utrillo, c. 1910; (credit: © 1993 ARS N.Y./SPADEM; photograph, Scala/Art Resource, New York)
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Oxford Grove Art:
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Maurice Utrillo
(b Paris, 26 Dec 1883; d Dax, 5 Nov 1955). French painter, son of SUZANNE VALADON. He was entrusted to his grandmother while his mother posed as a model for such painters as Renoir and Puvis de Chavannes before discovering her own talent for drawing and painting. His father, the Spanish painter Miguel Utrillo (1862-1934), only admitted paternity eight years after Maurice's birth. Maurice Utrillo had no predisposition for art, but when he was 19 his mother took medical advice and urged him to adopt drawing and painting as a distraction from his need for alcohol. In search of a suitable subject, he went to the countryside around Montmagny, a village to the north of Paris, where, between the autumn of 1903 and the winter of 1904, he completed almost 150 paintings, sombre, heavily impasted landscapes, such as the Roofs of Montmagny (Paris, Pompidou). By 1906 the doctor felt that Utrillo could return to Montmartre. His pictures of the streets and suburbs were painted with a less heavy impasto and with lighter tones. He was attracted by ordinary houses, as in the Rue du Mont-Cenis (see fig.) and Berlioz's House (both 1914; Paris, Mus. Orangerie), and suburban churches, for instance the Church of Villiers-le-Bel (1909; priv. col., see P?trid?s, i, p. 129). These themes, associated with painters such as Daumier, Pissarro and Caillebotte, became Utrillo's chief source of inspiration, but he soon turned to a more ambitious subject, cathedrals. He was concerned with the development of an ordered composition and a flattened treatment of space that suggested the artificial appearance of a theatre set, as in Notre-Dame (1909; Paris, Mus. Orangerie). Particularly during World War I he also found that such subjects allowed him to project strong emotions, as in Rheims Cathedral in Flames (1914; Basle, priv. col., see P?trid?s, i, p. 67).
See the Abbreviations for further details.
Columbia Encyclopedia:
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Maurice Utrillo
Utrillo, Maurice (ūtrē'lō, Fr. mōrēs' ütrēlō'), 1883-1955, French painter. He was the son of the painter Suzanne Valadon and was adopted by the writer Miguel Utrillo. His mother taught him to paint in order to divert him from the alcoholism that ravaged him from a very early age. Utrillo's favorite themes were the street scenes of Paris, particularly of Montmartre, and Montmagny. Within an almost hallucinatory vision, he developed a personal style based on a modified cubism and a fine sense of atmosphere and composition. In his later years he lost much of his original power. An extremely prolific painter, Utrillo is well represented in American and European collections.
Bibliography
See biographies by W. George (1960) and P. de Polnay (rev. ed. 1969).
American Heritage Dictionary:
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U·tril·lo
, Maurice 1883-1955.French painter known especially for his street scenes of Paris.
Wikipedia on Answers.com:
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Maurice Utrillo
| Maurice Utrillo | |
|---|---|
 La Rue Norvins à Montmartre, c. 1910 |
|
| Birth name | Maurice Valadon |
| Born | 26 December 1883 Montmartre, Paris, France |
| Died | 5 November 1955 (aged 71) Montmartre, Paris, France |
| Nationality | French |
| Field | Painting |
| Training | Self-taught |
Maurice Utrillo, French pronunciation: [mɔ.ʁis ytʁijo], born Maurice Valadon, (26 December 1883 – 5 November 1955) was a French painter who specialized in cityscapes. Born in the Montmartre quarter of Paris, France, Utrillo is one of the few famous painters of Montmartre who were born there.
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Biography
Utrillo was the son of the artist Suzanne Valadon (born Marie-Clémentine Valadon), who was then an eighteen-year-old artist's model. She never revealed who had been the father of her child; speculation exists that he was the offspring from a liaison with an equally young amateur painter named Boissy, or with the well established painter, Pierre-Cécile Puvis de Chavannes, or even with Renoir (see below under Utrillo's Paternity). In 1891 a Spanish artist, Miguel Utrillo y Molins, signed a legal document acknowledging paternity, although the question remains as to whether he was in fact the child's father.[1]
Valadon, who had become a model after a fall from a trapeze ended her chosen career as a circus acrobat,[2] found that posing for Berthe Morisot, Pierre-Auguste Renoir, Henri de Toulouse-Lautrec, and others provided her with an opportunity to study their techniques; in some cases, she had also become their mistress. She taught herself to paint, and when Toulouse-Lautrec introduced her to Edgar Degas, he became her mentor. Eventually she became a peer of the artists she had posed for.
Meanwhile, her mother was left in charge of raising the young Maurice, who soon showed a troubling inclination toward truancy and alcoholism.[3] When a mental illness took hold of the 21-year-old Utrillo in 1904, he was encouraged to paint by his mother. He soon showed real artistic talent. With no training beyond what his mother taught him, he drew and painted what he saw in Montmartre. After 1910 his work attracted critical attention, and by 1920 he was internationally acclaimed. In 1928, the French government awarded him the Cross of the Légion d'honneur.[4] Throughout his life, however, his mental disorder would result in his being interned in mental asylums repeatedly.
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Today, tourists to the area will find many of his paintings on post cards, one of which is his very popular 1936 painting entitled, Montmartre Street Corner or Lapin Agile.
In middle age Utrillo became fervently religious and in 1935, at the age of fifty-two, he married Lucie Valore and moved to Le Vesinet, just outside of Paris. By that time, he was too ill to work in the open air and painted landscapes viewed from windows, from post cards, and from memory.
Although his life also was plagued by alcoholism, he lived into his seventies. Maurice Utrillo died on 5 November 1955, and was buried in the Cimetière Saint-Vincent in Montmartre.
Concerning Utrillo's Paternity
An apocryphal anecdote told by Diego Rivera concerning Utrillo's paternity is related in the unpublished memoirs of one of his American collectors, Ruth Bakwin:
"After Maurice was born to Suzanne Valadon, she went to Renoir, for whom she had modeled nine months previously. Renoir looked at the baby and said, 'He can't be mine, the color is terrible!' Next she went to Degas, for whom she had also modeled. He said, 'He can't be mine, the form is terrible!' At a cafe, Valadon saw an artist she knew named Miguel Utrillo, to whom she spilled her woes. The man told her to call the baby Utrillo: 'I would be glad to put my name to the work of either Renoir or Degas!'"[5]
2010 exhibitions and sale
In 2010, several retrospective exhibitions were staged, at Oglethorpe University Museum of Art[6] and in Montmartre (Paris) that culminated in an auction of 30 of Utrillo's works on 30 November 2010[7] from the collection of Paul Pétridès, Utrillo's art dealer, whose Galerie Pétridès also dealt with the likes of Jacques Thévenet. This follows the 2009 exhibition of Suzanne Valadon and Maurice Utrillo's works held in Paris in 2009.[7]
Notes
- ^ Warnod 1981, p.48.
- ^ Warnod 1981, p.13.
- ^ Warnod 1981, pp.57-59.
- ^ Warnod 1981, p.85.
- ^ 'Parting With the Family van Gogh' in the New York Times, April 22, 2006
- ^ Pastel exhibit, Utrillo oils create colorful contrast at Oglethorpe, Chris North, reporternewspapers.net, 3 June 2010, accessed 1 December 2010
- ^ a b PAUL PÉTRIDÈS COLLECTION: 30 Works by Maurice Utrillo, accessed 1 December 2010 (Paul Pétridès (1901-93) was Utrillo’s dealer from 1937, and the author of the catalogue raisonné of his work.)
References
- Jean Fabris, Claude Wiart, Alain Buquet, Jean-Pierre Thiollet, Jacques Birr, Catherine Banlin-Lacroix, Joseph Foret: Utrillo, sa vie, son oeuvre (Utrillo, his life, his works), Editions Frédéric Birr, Paris, 1982.
- Warnod, Jeanine (1981). Suzanne Valadon. New York: Crown. ISBN 0-517-54499-7
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