Late afternoon in the studio of artist Suzanne Valadon.
12 rue Cortot 75018
Dutch artist couple Adya van Rees-Dutilh (1876-1959) and Otto van Rees (1884-1957) have returned to Montmartre, offering a fascinating example of a true artistic partnership at the heart of 20th-century modernism. They lived and worked in Montmartre's now famous Bateau-Lavoir (Picasso, Braque, van Dongen, Mondrian, Modigliani and poet/writer Max Jacob were part of their circle) and later, Montparnasse, in the era that helped define Pointillism, Cubism, Cloisonnism (with its flat planes of color, heavy dark contours and simplified forms) and eventually, Abstraction. The current exhibition at the Musée de Montmartre - with its refreshing garden, small tea room, and sweeping views - is the perfect opportunity to discover them. - BPJ
The atelier of painters' model / artist Suzanne Valadon aglow at sundown.
At his post, ready to pour drinks and oversee nibbles (as Aristide Bruant looks on) at the Musée de Montmartre opening.
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Current exhibition:
The sheer number of works and artists is overwhelming. The show traces a north-south path through these iconic districts, blending influences from Cézanne, Gauguin, and Van Gogh with unique styles shaped by intellectual freedom, supported by figures like Guillaume Apollinaire and Max Jacob. Part of the museum’s focus on artistic diversity and Montmartre’s legacy, it is backed by Poland’s Embassy in France and the Polish Institute in Paris, in partnership with Villa La Fleur museum in Poland and the Basilique du Sacré-Coeur, with a companion publication. - BPJ
Maximilien Luce (1858–1941) was a trailblazer of Neo-Impressionism and key figure in anarchist and libertarian communities. Leaving an indelible legacy through his deep artistic and political passions, his paintings of urban and rural scenes as well as the human experience reflect the social and industrial shifts of his time. Although his stunning landscapes take center stage in this exhibition, he also portrays subjects that were unexplored by his fellow Pointillists, such as workers in motion.
The humanistic spirit at the core of his work defines its essence, yet landscape remains a central theme that energized his art throughout his career. With a distinctive sensitivity, Luce masterfully portrays light and color. This exhibition showcases his artistry and brings his frequently underappreciated work to a wider audience.
Luce lived on rue Cortot from 1887 until 1899, just steps from where this exhibition, the first Paris retrospective since 1983, is now being held. — BPJ
Rappelle-toi Barbara Il pleuvait sans cesse sur Brest ce jour-là. Et tu marchais souriante. Épanouie ravie ruisselante. Sous la pluie. Rappelle-toi Barbara - Jacques Prévert
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Today ends an in-depth exhibition highlighting the life and work of Jacques Prévert at the Montmartre Museum with its stunning Renoir Gardens and small tea room.
From my college days I've fond memories of how my father would recite "Rapelle-toi Barbara" to me because it had my name in it, not realizing that Prévert was much more than a prolific poet. A talented writer, screenwriter and, in his own right, artist whose best friends were notable painters of the day such as Pablo Picasso and Joan Miró, he spent his time in Montmartre welcoming a beau monde from a small studio that overlooked Le Moulin Rouge and was filled with books and scraps of cuttings to create his astonishing surrealist collages.
Prévert's Wikipedia biography states, "He died of lung cancer in Omonville-la-Petite on 11 April 1977. He had been working on the last scene of the animated movie Le Roi et l'Oiseau ("The King and the Mockingbird") with his friend and collaborator Paul Grimault. When the film was released in 1980, it was dedicated to Prévert's memory, and on opening night, Grimault kept the seat next to him empty. His dog Auto was given to a family friend after his death." - BPJ
Below: in a spontaneous moment at the exhibition a couple embrace in front of one of Prévert's collages that happened to be just around the corner from a poster of film, "Les Enfants du Paradis" (1945), screenplay by Jacques Prévert
Swiss artist Théophile Steinlen who called several addresses in Montmartre home, is mostly recognized for his ubiquitous poster Le Chat Noir (The Black Cat), the club by the same name, thought to have been the first modern cabaret. But as much as he loved cats and to paint cats, he did more. Much more.