Jacqueline Delubac

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Jacqueline Delubac (born May 27, 1907 in Lyon as Isabelle Jacqueline Basset , † October 14, 1997 in Créteil ) was a French theater and film actress. In the 1930s she successfully starred in several plays and films by Sacha Guitry , whom she married in 1935. At this time she was one of the most famous actresses in France and was considered a prime example of the elegant Parisian woman because of her fashion-conscious appearance. After completing her stage career, she devoted herself to building up an art collection that mainly contained works by 20th century artists. After her death, she bequeathed important works from her collection to the Musée des Beaux-Arts in Lyon, as well as from the estate of her second husband, the diamond dealer Myran Eknayan .

Life

youth

Jacqueline Delubac was born in Lyon in 1907 as the daughter of the businessman Henri Basset and his wife Isabelle, née Delubac. Henri Basset died in 1911 when his daughter was only four years old. Isabelle Basset then moved with Jacqueline to her parents' home in Valence , where her maternal grandfather worked as a silk merchant. This is where Jacqueline Delubac spent her childhood. Her artistic talent was shown early on. At the age of 13, the magazine Les Marges, revue de littérature et d'art published a poem by the only thirteen-year-olds. She and her mother settled in Paris in 1928. She took singing and dance lessons and from then on appeared on stage with her mother's maiden name.

Beginning of the acting career

She made her debut as Jacqueline Delubac in 1928 in a revue by Rip (Georges-Gabriel Thenon) at the Théâtre des Bouffes-Parisiens . In 1930 she appeared at the Théâtre de l'Empire in a revue in which she imitated dance performances by Josephine Baker . As an actress, she appeared in a supporting role in the play Étienne by Jacques Deval at the Théâtre Saint-Georges in the same year . At the same time, she began her film career and directed her first film Chérie in 1930, directed by Louis Mercanton . This was followed by a supporting role in the film Marions-nous (1931) also by Mercanton and Une Brune piquante (1932) by Serge de Poligny .

Collaboration with Sacha Guitry

In 1931 Jacqueline Delubac met the playwright, theater director and actor Sacha Guitry . He engaged her for a role in his comedy Villa à vendre , in which he played at her side at the Théâtre de la Madeleine . The two continued their collaboration and Delubac appeared in numerous pieces by Guitry, who repeatedly appeared on stage with her. In 1933 she played the leading role in the comedy Châteaux en Espagne at the Théâtre des Variétés , appeared at the same theater in Mon double et ma moitié and had a role in L'École des philosophes at the Théâtre du Palais des Beaux-Arts in Brussels . There was also a guest appearance in Son père et lui at the Théâtre des Célestins in Lyon. In the same year Delubac and Guitry became a couple privately and she moved into his apartment in a Hôtel particulier on Paris avenue Élisée-Reclus. In 1934 further appearances followed in Guitry's plays L'Illusionniste in the Théâtre des Variétes, and Le Nouveau Testament in the Théâtre de la Madeleine. Jacqueline Delubac married Sacha Guitry, 22 years her senior, on February 15, 1935. It was the first marriage for her, the third for him. She was on stage that year in La Fin du monde , another piece by Guitry that was performed at the Théâtre de la Madeleine. She then performed this play at Daly's Theater in London and Italy. In the same year she persuaded Guitry to work for the cinema for the first time. The film Bonne chance! Shot in April and May 1935 . - Delubac played the role of Marie Muscat - was the first joint work for the cinema. Other films followed, in which Guitry often edited his own plays for the cinema and in which he mostly played himself. Under Guitry's direction, Delubac had film roles in Le Nouveau Testament (as Juliette Lecourtois ), Mon père avait raison (as Loulou ), Le Roman d'un tricheur (as Henriette Gertrude Bled ), Faison un rêve (as Elle ) and Le Mot in 1936 alone de Cambronne . In the same year she also played on the stage of the Théâtre de la Madeleine in the plays Mon père avait raison , Geneviève and Le Mot de Cambronne (as La servante ). Also there followed in 1937 the role of Claudine André in Quadrille , again a piece by Guitry. Quadrille was made into a film that same year by Guitry, who starred alongside Delubac and Gaby Morlay . Delubac (as Odette Cléry ) and Guitry also worked together in the film Désire . One of her greatest successes was the film Les Perles de la Couronne ( The Pearls of the Crown ), also made in 1937 , which Guitry made with Christian-Jaque . At the side of Guitry and Raimu , Delubac played three roles in this film: Françoise Martin, Maria Stuart and Joséphine de Beauharnais . In 1938 Delubac and Guitry again worked together in several productions. Delubac played Jacqueline Maillard in the new production of Guitry's play Le Comédien at the Théâtre de la Madeleine . She also took on the role of Andrée Armand in the film L'Accroche-cœur directed by Pierre Caron, based on a play by Guitry . Guitry also wrote the plot of the film Remontons les Champs-Élysées , where he himself appeared in several roles and Delubac played Flora . A highlight of their collaboration was an appearance in the Élysée Palace during the state visit of the British King George VI. and his wife Elizabeth . At the invitation of the French President Albert Lebrun , Guitry and Delubac played the one-act play Dieu sauve le Roy, written by Guitry for the occasion, in front of the royal couple and other guests ! On November 3, 1938, the play Un monde fou premiered at the Théâtre de la Madeleine. Guitry himself appeared in this piece, which he wrote, and Delubac took on the role of Mademoiselle Putifat . It was Guitry and Delubac's last collaboration before they split in December of that year. The divorce took place on April 5, 1940.

Further career as an actress

After working closely with Guitry, Delubac continued her acting career with changing directors. In 1939 she took on the role of Pola d'Ivry in the film Jeunes Filles en détresse under the direction of Georg Wilhelm Pabst and played the character of Marcelle in Dernière Jeunesse . The film was directed by Jeff Musso and by her side again appeared Raimu, with whom she had already worked in Perles de la Couronne . In 1940 three more movies followed. In La Comédie du bonheur by Marcel L'Herbier , she took on the role of Anita alongside Michel Simon , played the character of Lady Gladys Carter-Fawcett in Le Collier de chanvre by Léon Mathot and worked in L'Homme qui cherche la vérité by Alexander Esway with. Here she acted as Jacqueline Diel again at Raimu's side. In 1941 she returned to the theater stage and played the Francine Chanal in La main passe by Georges Feydeau at the Théâtre des Mathurins . The stage costumes for this performance were designed by the writer and painter Jean Cocteau and the fashion designer Robert Piguet . Also in 1941 she directed the film Volpone under the direction of Maurice Tourneur and took on the role of Colomba .

Further appearances at the theater followed in 1944. She played in Je vivrai un grand amour by Steve Passeur at the Théâtre des Mathurins and in Trois douzaines de roses rouges by Georges Delance and Antonio de Benedetti . With this piece she gave a guest performance at the Théâtre des Célestins in Lyon in 1948 and went on tour in 1949 to Marseilles, Algeria, Belgium and Switzerland. Before that she was already on tour in South America in 1945. Together with a group of actors led by Jean Marchat , she appeared there in the plays La Parisienne by Henry Becque , Le Misanthrope ( The Misanthrope ) by Molière , Histoire de rire by Armand Salacrou and Je vivrai un grand amour by Steve Passeur. The film J'ai dix-sept ans by André Berthomieu was also made in 1945 , in which she played the role of Suzanne . In Molieres Le Misanthrope she appeared again in 1947 at the Paris Théâtre des Mathurins. Further theater roles followed in 1948. She appeared in N'empêchez pas la musique by Fabien Régnier at the Théâtre de Poche in Geneva and at the Théâtre des Mathurins in Paris and went on a theater tour with Tous les deux by Michel Dulud through the major cities of France and made a guest appearance at the Théâtre royal du Parc in Brussels. In 1949 she was seen as Madame de Lannier in the film Le Furet by Raymond Leboursier . She shot her last film in 1950. In La vie est un jeu by Raymond Lebroursier, she played the role of Evanella alongside Louis de Funès . In the same year she appeared at the Théâtre de la Potinière in Paris in Ce cher trésor by Pierre Maudru and Andre Rivollet . This was followed in 1951 by a role in La Jeune Veuve by Antonio de Benedetti at the Théâtre Monceau . Jacqueline Delubac ended her career as a film and theater actress in 1951. She played a total of 27 theater roles and 25 movies. Under the title Faut-il épouser Sacha Guitry? she published her memoirs as an actress in 1976.

The fashion style of Jacqueline Delubac

In the 1930s, Delubac, with her fine facial features and stylish wardrobe, was considered a prime example of the fashionable Parisian. Since her collaboration with Sacha Guitry, she has been dressed exclusively by the fashion house of Jeanne Paquin , who let one of her studios work only for Jacqueline Delubac. From there, until the end of her acting career in 1951, she purchased all of her stage and film costumes, but also personal day and evening dresses. Delubac occasionally caused a stir with her extravagant clothes. For example, in the 1938 play Un Monde fou , she wore a men's suit modeled on Marlene Dietrich . Her fashionable appearance was published in numerous illustrations in magazines and even writers like Jean Chalon praised her elegant appearance. Even after her withdrawal from the stage, Jacqueline Delubac belonged to the upper class of society in Paris ( Tout-Paris ). The Life Magazine in 1966 published a photo of Bill Eppridge where Jacqueline Delubac a fashion show of Chanel visited. On this occasion, she sat in the front row between the actresses Barbra Streisand and Marlene Dietrich. She kept her interest in fashion into old age. In 1991 , when she was 84, she attended a Dior fashion show, and on this occasion she was in the company of designer Paloma Picasso and opera singer Jessye Norman. The 1972 Dîner des Têtes Surréalistes (equivalent to the dinner of the surrealist heads ) attracted particular media attention . Guy de Rothschild had invited to his country estate Château de Ferrières for this event and asked his guests to dress up in the style of surrealism . Guests such as François-Marie Banier , Audrey Hepburn , Hélène Rochas , Marisa Berenson , Maria Gabriella di Savoia , Hugues Gall , Charles de Croisset , Paul-Louis Weiller and Salvador Dalí attended this social event . Jacqueline Delubac wore a long pink dress with a bow around the waist that evening. On her head she wore a black hat, from which a green apple hung down in front, which hid almost her entire face. The model for this apple carried in front of the face was a painting by René Magritte . After her death, she bequeathed 600 pieces of her wardrobe (clothes and shoes) from the 1960s to 1990s to the Musée de la Mode et du Textile in Paris. The author Dominique Sirop devoted herself in the book L'élégance de Jacqueline Delubac in detail to the fashion style of Jacqueline Delubac.

The art collector

In 1933 at the latest, when Jacqueline Delubac moved in with Sacha Guitry, she also got to know his art collection. The luxuriously furnished apartment on avenue Élisée-Reclus contained works by Bourdelle , Braque , Cézanne , Degas , Maillol , Matisse , Rembrandt , Renoir , Rodin , Toulouse-Lautrec , Van Dongen and Van Gogh . After separating from Guitry, she sold the jewelry she had received as a gift from her ex-husband and started building her own art collection. In December 1944, she acquired the painting L'Atelier aux Raisins by Raoul Dufy at the Louis Carré gallery in Paris . In the following years, especially after ending her acting career in the mid-1950s, she acquired other significant works. In addition to Parisian art dealers, she also visited galleries in New York. In 1956 she bought the painting Femme au chevalet by Georges Braque in the New York branch of the Paul Rosenberg gallery and acquired the painting Les Deux Femmes au bouquet by Fernand Léger in the Perls Galleries . She also visited artists in their studios and bought pictures directly from them. The composition T. 1955-33 by Hans Hartung came to the Delubac Collection one year after it was composed. When selecting the works of art, the collector did not commit to one art direction, but acquired images from completely different art movements. There are abstract and figurative painting, pictures of surrealism and cubism , still lifes and portraits. All the pictures have in common is the period of origin - the pictures acquired by Jacqueline Delubac all date from the 20th century. Her focus was always on current art. An example of this is the painting Le verre d'eau V. by Jean Dubuffet , which she bought in 1967 - the year it was made. The painting Carcass of Meat and Bird of Prey by Francis Bacon , acquired in 1982 , was also created only two years earlier. Another picture by Bacon, Study for a Bullfight, no. 2 , from 1967 was also in the collection. Other images acquired include Figure by Joan Miró , La Sainte Face by Georges Rouault , My Fair Lady by Jean Fautrier , Femme assise sur la plage by Pablo Picasso , Les Voies abandonnées by Victor Brauner , La Femme au couteau and La Confidence by Wifredo Lam and Composition from 1955 by Serge Poliakoff . In addition, Jacqueline Delubac commissioned two portraits of herself. Bernard Buffet painted the portrait of Jacqueline Delubac in 1955 and Paolo Vallorz created a portrait of the same title in 1960.

In 1981 Jacqueline Delubac married the diamond dealer Myran Eknayan for the second time . Both had an interest in art and both had built up their own art collection. The Eknayan collection, however, had a different focus. He owned works of impressionism with pictures by Manet , Monet , Renoir and Degas as well as works of Fauvism by Bonnard and Vuillard . There were few points of contact with the collections. Both of them owned a painting by Picasso, but Eknayan's Nu aux bas rouges is an early work by Picasso that stylistically can be assigned to Impressionism, while Femme assise sur la plage from the Delubac collection is a cubist picture by the artist. Only the two paintings by Georges Rouault show a close relationship. La Sainte Face from the Delubac collection and Pierrot from the Eknayan collection both date from 1938–1939 and are painted in the same style.

Myran Eknayan died in 1985 and Jacqueline Delubac inherited her husband's art collection. As compensation for the inheritance tax due, she left the large-format painting The Breakfast in the Green by Claude Monet to the French state, which transferred it to the collection of the Musée d'Orsay in Paris . She also sold some of the inherited paintings, including Le Lit de la bonne by Kees van Dongen . In the last years of her life, Jacqueline Delubac lived in an apartment on the Quai d'Orsay in Paris, surrounded by the joint art collection . Only occasionally did she acquire new works of art for her collection. In 1986 she bought two abstract paintings Sans titre ( Untitled ) by Albert Bitran and in 1990 the painting Nathalie au miroir, which had been made two years earlier, directly from the artist Paolo Vallorz .

From 1988 the childless Jacqueline Delubac began to think about the future of her collection. First she had the idea of bequeathing the works of art that her husband had acquired to the Musée National d'Art Moderne in the Center Georges Pompidou . The director of the museum, Jean-Hubert Martin , showed interest in certain works such as Picasso's painting Nu aux bas rouge , but found the Impressionist paintings from the original Eknayan collection in particular unsuitable for his museum. He then made contact between Jacqueline Delubac and Philippe Durey , director of the Musée des Beaux-Arts in Lyon. Until then, Jacqueline Delubac had no connections with her hometown, from which she had moved with her mother at the age of four, apart from brief guest stints. In April 1988 she visited the Musée des Beaux-Arts in Lyon for the first time and in the following years repeatedly held discussions with its director about a possible legacy. In 1993, she finally wrote her will, stating that 35 paintings and pastels as well as 3 sculptures by Auguste Rodin should go to the museum in Lyon after her death. Contrary to the original plan, not only works from the collection of her deceased husband, but also pictures from the 20th century from her own collection belonged to this legacy. She justified this decision by stating that the Paris museums already had extensive collections. She also wanted to prevent the works of art she bequeathed from being stored in a museum depot. The Musée des Beaux-Arts in Lyon committed itself to exhibiting the Delubac-Eknayan collection in two rooms to be named after the collector couple. In 1995, the museum received the still life Poisson sur une assiette from Pierre Bonnard as a gift.

Jacqueline Delubac died in 1997 in a hospital in Créteil after colliding with a cyclist in a traffic accident. Her grave is on the Cimetière de Garches in the Paris suburb of Garches . The Musée des Beaux-Arts in Lyon first exhibited the legacy of Jacqueline Delubac in 1998. Since then, the works of the Delubac-Eknayan collection with works by Monet, Manet, Renoir, Degas, Bonnard, Léger, Braque, Picasso, Modigliani, Bacon, Rodin and other artists have been on view in the museum's permanent exhibition. In 2014/2015 the Musée des Beaux-Arts dedicated a special exhibition to Jacqueline Delubac, in which, in addition to her legacy, the life of the actress was also honored.

Filmography

Honors

literature

  • Jacqueline Delubac: Faut-il épouser Sacha Guitry? Juillard, Paris 1976, ISBN 2-260-00028-2 .
  • Dominique Sirop: L'élégance de Jacqueline Delubac . Adam Biro, Paris 1994, ISBN 2-87660-138-9 .
  • Dominique Brachlianoff, Christian Briend: De Manet à Bacon, la collection Jacqueline Delubac . Réunion des musées nationaux Paris and Musée des Beaux-Arts Lyon 1998, ISBN 2-7118-3678-9 .

Web links

Individual evidence

  1. ↑ The poem was published in the edition of December 15, 1920. See Brachlianoff, Briend: De Manet à Bacon, la collection Jacqueline Delubac, p. 97.
  2. ↑ Photograph by Jacqueline Delubac and Sacha Guitry, both in men's suits, in the play Un Monde fou at the Théâtre de la Madeleine. ( Memento of the original from October 12, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.parisenimages.fr
  3. ^ Video of the Dior fashion show from 1991 in the INA archive.
  4. ↑ Illustration of Jacqueline Delubac with an apple in front of her face at the Dîner des Têtes Surréalistes .
  5. ↑ Example of a dress by Jacqueline Delubac in the Musée de la Mode et du Textile
  6. ↑ Brachlianoff, Briend: De Manet à Bacon, la collection Jacqueline Delubac. P. 11.
  7. ↑ Brachlianoff, Briend: De Manet à Bacon, la collection Jacqueline Delubac. Pp. 11-12.
  8. ↑ Brachlianoff, Briend: De Manet à Bacon, la collection Jacqueline Delubac. P. 12.
  9. ↑ Brachlianoff, Briend: De Manet à Bacon, la collection Jacqueline Delubac. P. 12.
  10. ↑ Information on the De Degas à Bacon exhibition . La collection Jacqueline Delubac on www.artube.fr
personal data
SURNAME Delubac, Jacqueline
ALTERNATIVE NAMES Basset, Isabelle Jacqueline (maiden name); Guitry, Jacqueline; Eknayan, Jacqueline
BRIEF DESCRIPTION French actress, art collector and patron
DATE OF BIRTH May 27, 1907
PLACE OF BIRTH Lyon
DATE OF DEATH October 14, 1997
Place of death Créteil