Émile Schuffenecker

from Wikipedia, the free encyclopedia
Autoportrait: In the studio, drawing , 1889, pastel, black chalk on gray paper, 49 × 48 cm, Musée d'Orsay , Paris
Emile Schuffenecker, Notre Dame de Paris , 1889, oil on canvas, 73 × 54 cm, Wallraf-Richartz-Museum , Cologne
Paul Gauguin: The Schuffenecker Family , 1889, oil on canvas

Émile Schuffenecker (born December 8, 1851 in Fresne-Saint-Mamès , Franche-Comté , † July 31, 1934 in Paris ) was a French painter of Neo-Impressionism .

Career

Claude Émile Schuffenecker was born to Nicolas Schuffenecker (1829-1854) and Anne Monnet (1836-1907). His father, a trained tailor, from Guewenheim ( Haut-Rhin , Alsace ), died early. Émile grew up with the sister of his mother Anne Fauconnet Monnet and her husband Pierre Cornu in Paris. He attended a school run by the brothers in the Christian schools and helped his uncle, who ran a small coffee roastery with a chocolate shop in the Quartier des Halles .

In 1871 he joined the company of the stock exchange trader Bertin, where he met Paul Gauguin in 1872 , with whom he became friends. In his spare time he took drawing lessons from Paul Baudry and Émile Carolus-Duran . He met Armand Guillaumin and Camille Pissarro and was represented for the first time at the Paris Salon in 1874 . After the stock market crash of 1882, like Gauguin, he lost his job at Bertin. He accepted a position as a drawing teacher at the State Lycée Michelet in Vanves . In 1884 he was one of the co-founders of the Salon des Indépendants , in 1886 he took part in the 8th and last Impressionist exhibition. In the same year he met the eighteen-year-old painter and poet Émile Bernard in Concarneau , who was on his way to Pont-Aven and whom he provided with a letter of recommendation to Paul Gauguin, who was twenty years his senior. The often clumsy Gauguin - like many of his colleagues - sold some of his own works at low prices to his friend Schuffenecker, who had a keen sense and a solid income, but later turned away from him because of his self-interest. Gauguin's liaison with Schuffenecker's wife certainly contributed to this. Schuffenecker had contact with the members of the Pont-Aven school , but his neo-impressionist style was little appreciated.

Schuffenecker died at the age of 82 on July 31, 1934 in Paris and was buried three days later on the Cimetière Montparnasse .

plant

Between 1886 and 1888 he painted Le square au Luxembourg (oil on canvas, 85 × 100 cm), which shows his wife Louise and his two children Jeanne and Paul playing in the Jardin du Luxembourg . This painting, in which Schuffenecker developed Seurat's pointillism for himself , is typical of his landscapes in the following years. In a poem, Émile Bernard described this painting in detail.

In 1889 Schuffenecker organized an exhibition of the peintres Impressionistes et Synthétistes in the Paris Cafe Volpini, with Gauguin, Charles Laval , Louis Anquetin and his own works , among others . The exhibition turned out to be a “laughing hit” and a complete economic failure as no painting was sold.

In 1890 Schuffenecker and his brother Amédée are said to have bought and copied a number of paintings by Vincent van Gogh from his brother Theo and his sister-in-law Johanna van Gogh-Bonger . Several Schuffenecker copies subsequently came onto the market and were listed in 1916 by the almost blind art historian Théodore Duret in van Gogh's catalog raisonné as real works by the Dutchman. The researcher Jan Hulsker suspected collusion between the van Gogh heirs and the Schuffeneckers.

literature

Web links

Commons : Emile Schuffenecker  - Collection of pictures, videos and audio files

Individual evidence

  1. Germain Bazin , in: Kindlerserei Lexikon, Kindler Verlag, 1964, vol. 1, p. 333
  2. after Emmanuel Bénézit .
  3. ^ Wolfgang Wittrock : Paul Gauguin, das Druckgraphische Werk , Museum Villa Stuck, Munich, Das Museum, 1978, p. 9
  4. ^ Théodor Duret, Van Gogh, Vincent , Bernheim-Jeune & cie, Paris, 1916
  5. ^ Jan Hulsker: Van Gogh: Het complete werk , Meulenhoff, 1978 ISBN 978-9-0290-0807-5
  6. Hans E. Lex, A neverending story of forgeries , in: Die Welt, April 4, 1997