O Baile (Le Bal) - Henri Gervex
Museu Carnavalet Paris
OST - 41x56 - 1890
sexta-feira, 18 de outubro de 2019
O Baile (Le Bal) - Henri Gervex
O Baile (Le Bal) - Henri Gervex
Museu Carnavalet Paris
OST - 41x56 - 1890
Cinco Horas na Maison Paquin, Paris, França (Cinq Heures Chez Paquin) - Henri Gervex
Paris - França
Coleção privada
OST - 111x172 - 1906
Jeanne Paquin (French
pronunciation: [ʒan pakɛ̃]) (1869–1936) was a leading French fashion designer, known for her resolutely modern and
innovative designs. She was the first major female couturier and one of the
pioneers of the modern fashion business.
Jeanne Paquin
was born Jeanne Marie Charlotte Beckers in 1869. Her father was a physician. She
was one of five children.
Sent out to
work as a young teenager, Jeanne trained as a dressmaker at Rouff (a Paris couture house established in
1884 and located on Boulevard Haussmann). She
quickly rose through to ranks becoming première, in charge of the atelier.
In 1891,
Jeanne Marie Charlotte Beckers married Isidore René Jacob, who was also known
as Paquin. Isidore owned Paquin Lalanne et cie, a couture house which had grown
out of a menswear shop in the 1840s. The couple renamed the company Paquin and
set about building the business.
In 1891,
Jeanne and Isidore Paquin opened their Maison de Couture at 3 Rue de la Paix in Paris,
next to the celebrated House of Worth. Jeanne was in charge of design, while
Isidore ran the business.
Initially,
Jeanne favored the pastels in fashion at the time. Eventually, she moved on to
stronger colors like black and her signature red. Black had been
traditionally the color of mourning. Jeanne made the color fashionable by
blending it with vividly colorful linings and embroidered trim.
Jeanne Paquin
was the first couturier to send models dressed in her apparel to public events
such operas and horse races for publicity. Paquin also frequently
collaborated with the illustrators and architects such as Léon Bakst, George Barbier, Robert Mallet-Stevens,
and Louis Süe. She was also known to
collaborate with the theatre, in a time when other houses rejected
collaboration. In 1913, a New York Times reporter
described Jeanne as "the most commercial artist alive".
A London
branch of The House of Paquin was opened in 1896 and the business became a
limited company the same year. This shop employed a young Madeleine Vionnet. The company later expanded with shops in
Buenos Aires and Madrid.
In 1900,
Jeanne was instrumental in organizing the Universal Exhibition and she was
elected president of the Fashion Section. Her designs were featured prominently
at the Exhibition and Jeanne created a mannequin of herself for display.
Isidore Paquin
died in 1907 at the age of 45, leaving Jeanne a widow at 38. Over 2,000 people
attended Isidore's funeral. After Isidore's death, Jeanne dressed mostly in
black and white.
In 1912,
Jeanne and her half-brother opened a furrier, Paquin-Joire, on Fifth Avenue in
New York City. The same year, Jeanne signed an exclusive illustration
contract with La Gazette du Bon Ton. La Gazette du Bon Ton featured
six other leading Paris designers of the day – Louise Chéruit, Georges Doeuillet, Jacques Doucet, Paul Poiret, Redfern & Sons, and the House of Worth.
In 1913,
Jeanne accepted France's prestigious Legion d’Honneur in recognition
of her economic contributions to the country – the first woman designer to
receive the honor. A year later, Jeanne toured the United States. For five
dollars, attendees saw The House of Paquin's latest designs. Despite the high
ticket price, the tour sold out.
During World
War I, Jeanne served as president of the Chambre Syndicale de la Couture. She
was the first woman to serve as president of an employers syndicate in France.
At its height,
the House of Paquin was so well known that Edith Wharton mentioned the company
by name in The House of Mirth.
At a time when
couture houses employed 50 to 400 workers, the House of Paquin employed up to
2,000 people at its apex. The Queens of Spain, Belgium, and Portugal were all
customers of Paquin. So were courtesans such as La Belle Otero and Liane de
Pougy.
When Jeanne
Paquin retired in 1920, she passed responsibility to her assistant Madeleine
Wallis. Wallis remained as house designer for Paquin until 1936, the same year
that Jeanne Paquin died. Between 1936 and 1946, the Spanish designer Ana de
Pombo, Wallis's assistant, was house designer. In 1941, de Pombo left, and her
assistant, Antonio del
Castillo (1908–1984) took over as head designer. In 1945 del
Castillo left Paquin to become a designer for Elizabeth Arden, and would later become head designer for the
house of Lanvin. He was succeeded
by Colette Massignac, who was tasked with the challenge of keeping Paquin going
during the post-War years, when new designers such as Christian Dior were receiving greater publicity and
attention. In 1949, the Basque designer Lou Claverie became
head designer at Paquin, until 1953, when he was succeeded by a young American
designer, Alan Graham. However, Graham's understated designs failed to
reinvigorate the brand of Paquin, and the Paris house closed on 1 July 1956.
Café em Paris, França (Café Scene in Paris) - Henri Gervex
Café em Paris, França (Café Scene in Paris) - Henri Gervex
Paris - França
Detroit Institute of Arts Detroit Estados Unidos
OST - 121x164 - 1877
Uma Sessão do Juri de Pinturas, Paris, França (Une Séance du Jury de Peinture) - Henri Gervex
Uma Sessão do Juri de Pinturas, Paris, França (Une Séance du Jury de Peinture) - Henri Gervex
Paris - França
Museu d' Orsay Paris França
OST - 300x419 - 1885
Rolla, Paris, França (Rolla) - Henri Gervex
Paris - França
Museu de Belas Artes de Bordeaux França
OST - 175x220 - 1878
The history of
Rolla was captured in a poem by Musset in 1833. Rolla was the man who had paid
for Marion as a courtesan whom he couldn't really afford.
" . .
.Marion was expensive. To pay for one night he had spent everything . . ..
Rolla peered with a melancholy eye over the rooftops, he saw the sun
coming up. He moved to the edge of the window. Rolla glanced back to Marie, she
was tired and had fallen asleep again ..."
Gervex had
painted the poem. But just like Manet's Olympia this was way too direct, and
forced Parisian society to face the realities of prostitution which was
widespread in Paris, along with the issues of female sexuality. The ruffled
sheets, the quickly discarded corset and man's top hat, left little doubt the
passion that this painting depicted.
Some
courtesans became quite wealthy, even celebrities in Paris as prostitution was
common at all levels. Everyone knew it, but no one of society would dare
discuss it. Clearly, Gervex is romanticizing the poem here. But there was
another side to this story. Most woman of prostitution did not reach
courtesan status. Even those that did had to navigate the troubled straits of a
society in deep denial. In her book "Edouard Manet: rebel in a frock coat,"
Beth Archer Brombert documents pretty well the appalling conditions that most
working class women had to live under. A widowed mother, or an unwed woman, if
not under the care of a man of means, was left with no economic opportunities.
Paris was bursting from population growth and venereal disease was epidemic,
and of course with no real cure yet. Edouard Manet, as did his father before
him, would eventually die of complications to syphilis in 1883 -- five years
after Gervex's painting -- one year prior to Sargent's "Madame X"
Ultimately it would be the artists that would force the public to face the hypocrisy. For most Parisians, Gervex's Rolla could just of easily been a visual depiction of one of the most popular plays of the time called "Lady of the Camellias" wherein Marguerite Gautier, the beautiful courtesan, and the Armand Duval, the young middle class civil servant (whom couldn't afford her either) are left utterly destroyed.
Ultimately it would be the artists that would force the public to face the hypocrisy. For most Parisians, Gervex's Rolla could just of easily been a visual depiction of one of the most popular plays of the time called "Lady of the Camellias" wherein Marguerite Gautier, the beautiful courtesan, and the Armand Duval, the young middle class civil servant (whom couldn't afford her either) are left utterly destroyed.
In 1878,
Gervex submitted three paintings to the Salon: Portrait d'E. Paz, Portrait
of Madame G. (Madame Gervex mère), and this painting of Rolla. The
last was refused because it was deemed indecent. The artist turned around
and showed the painting in the window of a furniture store at 41 rue de la
Chaussée d'Antin for three months (April 20th thru July 20th). It
attracted crowds of Parisians and was so scandalous that it would make Gervex
famous.
Retrato de D. Olivia Guedes Penteado (Retrato de D. Olivia Guedes Penteado) - Henri Gervex
Coleção privada
OST - 106x133 - 1911
Olívia Guedes Penteado (Campinas, 12 de março de 1872 — São
Paulo, 9 de junho de 1934) foi uma grande incentivadora do modernismo no Brasil e amiga de
artistas-chave do movimento, como Anita Malfatti, Tarsila do Amaral e Heitor
Villa-Lobos.
Olívia era filha de José Guedes de Sousa e de Carolina Álvares Guedes,
os barões
de Pirapitingui. Entre seus irmãos, destaca-se o Dr. Alfredo Guedes
de Sousa, que foi Secretário de Agricultura do Governo de São Paulo durante o
mandato de Fernando Prestes.
Olívia conheceu os amigos modernistas em Paris, onde morava, e trouxe para o Brasil
pela primeira vez exemplares da obra de Pablo Picasso e Marie Laurencin, entre
outros. Olívia Penteado criou o Salão de Arte Moderna, a partir de 1923, quando voltou a morar no país.
Casou-se com seu primo-irmão Inácio Leite Penteado, filho de sua tia
materna Maria Higina, que, por seu segundo casamento, foi baronesa
de Ibitinga, e do Dr. João Carlos Leite Penteado, descendente de
João Correia Penteado *1666 +1739 e Isabel Pais de Barros *1673 +1753. O casal teve duas filhas:
Carolina Penteado da Silva Teles, casada com Gofredo Teixeira da Silva Teles;
Maria Guedes Penteado de Camargo, casada com Clóvis Martins de Camargo.
Inácio era irmão de Antônio Álvares Leite Penteado, o conde Álvares
Penteado, e tio de Iolanda
Penteado.
Lutou tenazmente pelo voto feminino, conseguindo
eleger a primeira mulher para uma constituinte, a dra. Carlota Pereira de Queiroz. Participou ativamente
da revolução
de 1932.
Na minissérie Um só
coração, exibida em 2004 pela Rede Globo, Olívia Penteado
foi interpretada pela atriz Selma Egrei.
Morreu de apendicite,
e foi sepultada no Cemitério
da Consolação, sendo seu túmulo ornamentado com a escultura
intitulada O Sepultamento,
feita por Victor
Brecheret.
São Paulo, Viaduto do Chá com Rua Direita, 1905, São Paulo, Brasil (São Paulo, Viaduto do Chá com Rua Direita, 1905) - Henrique Passos
São Paulo - SP
Coleção privada
OST - 73x100
São Paulo, Rua São Bento com Magazine Mappin, 1929, São Paulo, Brasil (São Paulo, Rua São Bento com Magazine Mappin, 1929) - Henrique Passos
São Paulo - SP
Coleção privada
OST - 73x54
São Paulo, Rua Direita, 1929, São Paulo, Brasil (São Paulo, Rua Direita, 1929) - Henrique Passos
São Paulo - SP
Coleção privada
OST - 73x54
São Paulo, Rua XV de Novembro, 1920-1930, São Paulo, Brasil (São Paulo, Rua XV de Novembro, 1920-1930) - Henrique Passos
São Paulo - SP
Coleção privada
OST - 73x54
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