And now, in the spirit of celebrating under-recognized female painters, immortalized in oil by the artists for whom they modeled, let's talk about the lovely Suzanne Valadon. She, like Victorine Meurent (whom we talked about last week), modeled for Renoir, Degas, pretty Berthe Morisot, and Toulouse-Lautrec.
The child of a laundress, Valadon began working as a circus acrobat at the age of 15. But when a fall from a trapeze ended her career two years later, she was forced to turn to modeling for money. Of course, modeling for artists usually led to more intimate relationships, and apparently, it was not long before she was pregnant. According to a bawdy joke later told by Diego Rivera, she first went to Renoir, but he disavowed paternity, indicating the color was all wrong. Next, she went to Degas, who indicated the form was all wrong for the baby to be his. Finally, after she belched her tale of woe to a Spanish painter named Miguel Utrillo y Molins, he declared, "I would be glad to put my name to the work of either Renoir or Degas!" And so, Maurice Valadon (the baby in question) was officially (if not accurately) legitimized and became Maurice Utrillo. Thanks to Valadon's training and encouragement, Utrillo, who long suffered from emotional difficulties and alcoholism, became a successful artist in his own right. But that's another story for another time.
Suzanne Valadon. Reclining Nude, 1928. Metropolitan Museum of Art. |
Suzanne Valadon, Portrait of Erik Satie. |
But this is Suzanne's story, not Satie's, so back to it: Valadon was a perfectionist, reportedly working for well over a decade on her paintings before ever showing them. And it was not until 1909, when Valadon was 44, that she began painting full-time. By 1911, she had her first solo show, where she earned significant critical acclaim and garnered the patronage that allowed her to sustain herself for her remaining years. She reached the apex of her fame in the 1920s and enjoyed four retrospective exhibitions in her lifetime. She was held in such high esteem within the art world that Picasso and Braque even attended her funeral.
So what separates her fate from Victorine's? How is it that she has left her mark on art history (although, of course, it is a significantly more shallow a mark than that made by any of her male contemporaries thanks to traditional art historical narratives)? Persistance, I suppose. Where Victorine destroyed some of her paintings and fell into alcoholic obscurity, choosing instead to tell stories about her time with Manet for the price of a drink, Suzanne Valadon was creating, quietly, in relative sobriety, all along. She may have been no less promiscuous than Victorine, but she was productive and persistent, applying the kind of sustained concentration that earned her respect.
Suzanne Valadon, The Blue Room |
Perhaps then, this is a perfect portrait of Valadon herself, who achieved what Victorine did not: fame that extended beyond her physical attributes and into a fourth dimension, a kind of creative immortality.
Suzanne Valadon corrigée / Suzanne Valadon corregida
ReplyDeletehttp://www.youtube.com/watch?v=4zih-lkOjxA