Jeanne Rij-Rousseau

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Jeanne Rij-Rousseau 1929

Jeanne Rij-Rousseau (* 10. June 1870 in Candé ; † 22. October 1956 in Savigny-sur-Braye ) was a French painter , artist of cubism and art theorist .

life and work

Jeanne Rij-Rousseau was born Jeanne Caffier in Candé (Maine-et-Loire) France in 1870 . She comes from a large family that she left at the age of 15 to seek her fortune in Paris. Through an aunt, she found a job as an assistant in a fashion studio. In 1894 she met a wealthy older wine merchant, Jean Auguste Rousseau, who made her switch from sewing to painting. She married him in 1900. At first she exhibited her works under the name Jeanne Rousseau or Jeanne Rousseau-Caffier. After the death of her husband, she adopted the stage name Jeanne Rij-Rousseau and kept it until the end of her career, even though she became Jeanne Loiseau through her second marriage to Loiseau.

Pioneer of a new painting

Right from the beginning of her painting, she tried to paint with large colored surfaces - a technique related to the Nabis artist group - and preferred colors that stimulate the mind: the yellow of the orange cadmium and the cobalt blue in contact with an intense red. When Cubism emerged around 1907 , she didn't just want to join this trend, she wanted to create something of her own. She begins to fill her paintings and drawings with triangles and increases this system by often dividing the whole picture into triangles or crossing them with diagonal lines, with a strong predominance of pure light and dark, very intense, glossy colors. This is how her abstract compositions , her landscapes and still lifes are created: through the technique of triangulation (triangulation).

It cannot be denied that she has to be seen as a trailblazer for a new kind of painting. With a clear and intact vision, which she brutally displays, with the division of her pictures by triangles, Rij-Rousseau overcomes the painting conventions of that time with playfulness and unbelievable ease. If you look back, you have to rearrange your work. For classical modernism , it appears like an indispensable link in a chain.

Montmartre

There are many who take inspiration from her. Rij-Rousseau is z. B. friends with Juan Gris (1887–1927). She met him in the Bateau-Lavoir in Montmartre and influenced him particularly in the years 1906–1907. According to Guillaume Apollinaire, it is the other way round, it is Rij-Rousseau who follows in the footsteps of Juan Gris. There is no doubt that both artists influenced each other. They meet not only in Paris, but also in Céret , southern France, the “Mecca of Cubism”, in the Grand Café or at the Spanish sculptor and painter Manolo (1872–1945). Together with Manolo, the friend of Georges Braque (1855–1911) and Picasso (1881–1973), she had a small exhibition in 1910 in a café in Montrouge . In 1912 she visited him for the first time in Céret. She also maintains close contact with other artists from the Bateau-Lavoir in Montmartre.

According to Zeiger-Viallet, the decomposition and interpretation of the object from the perspective of triangulation impressed the painter Jacques Villon (1875–1963) in particular , who was strongly inspired by this technique.

Rij-Rousseau studied with Maurice Denis (1870–1943) and Paul Sérusier (1863–1927). For him she is also a model in Paris and in Pont-Aven in Brittany. She met Maurice Denis to paint in Feucherolles and Saint Germain-en-Laye. All three artists belong to the Académie Ranson (Paul Ranson 1864–1909), whose rooms are in their immediate vicinity from 1911: Rue Joseph-Bara, No. 7. As a member of the Académie Ranson, Rij-Rousseau traveled to 1911, for example Milan.

The artist has great respect for the painter Marc Mouclier (1865–1948); an important impressionist who contributed a lot to the creation of the Nabis. In the Salon des Indépendants she met Paul Signac (1863–1935), but their relationship remained rather distant.

In her painting Rij-Rousseau shows a stormy sensitivity. Great emotions, strong contrasts, bright colors are an absolute necessity for her in order to express her own poetry. Their principle of triangulation is a symphony of lines, where sharpness and freedom of the lines complement each other on the canvas. Through her abundance and her passion for expression she reaches a converging point where the art of drawing completely dominates painting and dominates all other painting techniques.

Although she belongs to the avant-garde , she never completely loses her preoccupation with the representational, which prevents her from systematically arriving at the absurd . Your freedom of expression always remains at the extreme limit of the derived representational, the apparent reality. In the eyes of Zeiger-Viallet, Rij-Rousseau is not a theoretician. You paint primeval and with great naturalness. She follows her instinct rather than the calculation: "She made triangles so as not - like others - to make cubes".

Guy Pogu, who celebrates Rij-Rousseau as the pioneer of synthetic cubism, sees it quite differently. He speaks of a theory of vibrism that she developed and that underlies her paintings. Raymond Charmet and Jean Sutter see it similarly. Sutter says that she lived and discussed with the theorists from Pont-Aven, Paul Sérusier and Maurice Denis, that she founded vibrism and worked on the creation of cubism. From all these discussions and attempts an original work emerged that could be described as “experimental” and that would make painting technicians and their lovers think.

Montparnasse

Her first marriage to the wine merchant Jean Auguste Rousseau (1852–1916) enabled her to live a carefree life as a woman in the arts , so that she can devote herself to her wishes and inclinations without financial worries. This also includes trips to the south of France to see other artists or abroad, for example to Italy or Switzerland.

Soon after the death of her first husband, she met her second: Raoul Loiseau, divorced, born in Abbeville (Somme) in 1859, residing in Montigny-sur-Loing ; a respected lawyer and former Secretary General of Prime Minister Pierre Waldeck-Rousseau , who is also his cousin. Maître Loiseau once again brings her wealth and admiration for her painting; and it provides her entry into the upscale Parisian society.

They married in 1922 and Maître Loiseau took his wife to the most prestigious restaurants on the Boulevard Montparnasse, "Chez Joelle" or "Clos Cécile". So that his wife doesn't have to spend her precious time cooking, the couple eats lunch and dinner in the restaurant. Maître Loiseau is extremely generous. It enables Rij-Rousseau to live an elegant lifestyle, which Rij-Rousseau displays, including through her exclusive clothing, which, however, arouses the envy of other painters in the Montparnasse district .

Rij-Rousseau has the freedom to devote himself fully to her painting without having to make a living from it. She had her studio until the mid-1930s in Rue Notre-Dame-des-Champs, No. 86, in the sixth arrondissement. It's on the second floor, just above that of Fernand Léger (1881–1955), and her apartment is on the fourth floor. Marcel Lenoir (Jules Oury) (1872–1931) also has his studio in the same house, which previously housed the famous painter James Whistler (1834–1903). Her circle of friends includes u. a. also the Russian artist Albert Weinbaum (Winebaum, Vaynboym) (murdered in Auschwitz 1890–1943).

Rij-Rousseau is obsessed with the demon of painting, constantly redesigns her pictures, and even gets up again at night to continue working on a painting. Everything has to believe in it: your furniture, your dishes, your radiators are painted, totally colorful, right down to the doors of your apartment, everything transformed as if it were a kaleidoscope. Next door, at 7 rue Joseph Bara, Sérusier (1862–1927), Felix Vallotton (1875–1925) and Edouard Vuillard (1868–1940) work at the Académie Ranson. Opposite lives Edmond-Henri Zeiger-Viallet (1895–1994), who accompanied Rij-Rousseau in her painting for almost 30 years and wrote a biography about her.

He describes her as a “strong woman, of small stature, with a lion-like profile, thick reddish-blonde hair, coiffed a la Paderewski, and with a hawk nose. She has fine features, a delicate but vibrating voice, light, gray, cold eyes. Always dressed with particular elegance, Rij-Rousseau shows an elegant, very personal demeanor. ”(Edmond-Henri Zeiger-Viallet (1895–1994): Rij-Rousseau. Artiste peintre novateur. In: Sisteron-Journal, 75me Année N ° 1504 , March 1, 1975, p. 1)

Before 1910, Rij-Rousseau was the muse of numerous artists in Montmartre, but in the twenties she became a respected citizen of Montparnasse and an important part of the Parisian art scene, which met in the elegant pubs of Montparnasse: La Rotonde , Le Dôme , La Coupole, where, like many other artists, she was allowed to paint a pillar at the opening in 1927.

The twenties

A scandal that even received attention in the American press occurred in the summer of 1924. The President of the Salon des Tuileries , Albert Besnard, refused to have her painting “Les Courses” on display, even though the jury had already approved it is. Strong protests in the press and a wave of solidarity from their colleagues followed.

Her solo exhibition in the same year at the Carmine Gallery, where she presented 30 paintings and six of her large-format tapestries, as well as numerous drawings and designs, was very successful.

In contemporary French carpet art , Rij-Rousseau is the great innovator of the Aubusson workshops (1910–1911). Based on some of her large paintings, she has tapestries made there based on her templates. As early as 1909 she commissioned her great work "Les Lutteurs" (The Fighters) there. At the invitation of the carpet designer Alice Bailly (1872–1938), she stayed with her in Chexbres-sur-Vevey in Switzerland for a whole summer and unconsciously became her epigone. In 1925, Rij-Rousseau received the gold medal for the presentation of her carpet “La Ville” (The City) at the first Arts Décoratifs exhibition in Paris. Even before Jean Lurçat (1892–1966) and François Tabard (1902–1969) it had caused a sensation in carpet art.

Rij-Rousseau travels from success to success. From 1908 she exhibited her works in the Salon des Indépendants , from 1911 in the Salon d'Automne , of which she is also a member, and from 1924 in the Salon des Tuileries. Since 1920 she has been one of the artists of the Section d'Or , and since 1923 she has contributed to the illustration of the magazine “Montparnasse” by Géo-Charles and Marcel Hiver with her woodcuts . As early as 1923, a film was previewed in all Parisian cinemas about the opening of the Salon des Indépendants, in which her work “Le Lecteur” (The Reader) was shown.

In 1925 Rij-Rousseau founded the “Association of Modern French Women Painters” (Groupe des Femmes Peintres Françaises) and in the following years organized exhibitions, mainly in Paris, including the Barbazanges Gallery , but also abroad, for example in Brussels.

The group includes, among others, Marie Laurencin (1883–1956), former partner of the writer Guillaume Apollinaire (1880–1918); Suzanne Duchamp (1889–1963) sister of the painters Jacques, Raymond and Marcel Duchamp and wife of the Swiss painter Jean-Joseph Crotti (1878–1958); Marguerite Matisse (1894–1982), daughter of the painter Henri Matisse (1869–1954); Hermine David (1886–1970), wife of the Bulgarian painter Jules Pascin (1885–1930); Chériane (1900–1990), wife of the writer Léon-Paul Fargue (1876–1947); Fernande Barrey (1893–1960), wife of the Japanese painter Foujita (1886–1968); Valentine Prax (1897–1981), wife of the Russian sculptor Ossip Zadkine (1890–1967); Helene Perdriat (1889–1969), wife of the Norwegian painter Thorvald Hellesen (1888–1937) and Ghy Lemm (1888–1962); Wife of the Swedish painter Hans Ekegardh (1881–1962).

The list of participating women gives an interesting insight into the Parisian art scene of the twenties. Almost all of the people named here are well off and have no financial worries. They are not only networked with one another, but also have good contacts with the well-known painters, writers and composers of their time. Irène Lagut, for example, is a student of Braque and Picasso and u. a. friends with Serge Férat and Hélène d'Oettingen, who in turn are friends with Max Jacob , de Chirico and Severini . Irène Lagut also has relationships with Maurice Raynal , Blaise Cendrars , André Salmon , Fernand Léger , Albert Gleizes and Marc Chagall . Fernande Barrey and her husband Foujita, for example, are best witnesses at Valentine Prax and Ossip Zadkine and friends with Jeanne Hébuterne and Amedeo Modigliani . Hermine David has good contacts with Braque, Foujita, Gris, Moise Kisling , Jacob, Suzanne Valadon and Maurice de Vlaminck . The Friends of Chériane include u. a. Maurice Ravel , Paul Valéry , Paul Claudel , Claude Debussy , André Gide and Picasso.

The patrons in the background are also important. Hélène Perdriat is sponsored by the collector Pierre Roché . She and her husband also have good relations with the patron Jacques Doucet . In this context, the Parisian couturier Paul Poiret also plays an important role, followed by Leo Stein later.

The fact that Rij-Rousseau founded this “Groupe des Femmes Peintres” in 1925 and organized its exhibitions shows how strongly she is firmly anchored in the Parisian art scene. Since Rij-Rousseau is considerably older than the other participants, she can bring in the necessary experience. In addition, she is said to have a strong willpower, which is certainly beneficial for this task. Typical of their character is z. B. the fact that in 1942, at the age of 72, she started studying psychology and made herself ten years younger so that she could be accepted.

Rij-Rousseau has private exhibitions in Paris, e.g. B. in the Galerie Montparnasse, Galerie Carmine, Galerie Corot; Exhibitions in the province and abroad, e.g. B. in Zurich, Geneva, Brussels, New York, Boston, Berlin, Düsseldorf.

Her works receive attentive and benevolent comments in the French press. E.g. by Gustave Kahn in “Mercure de France” and in “Le Quotidien”, by Henry Coutant in the newspaper “Ouest”, by André Warnod in “Comoedia”, by André Salmon in the “Revue de France”, by Florent Fels in "L'Art Vivant" and in the "Nouvelles Littéraires" and by Charles Fegdal in the "Revue des Beaux-arts".

Rij-Rousseau's companions include, among many others, the writer Blaise Cendrars (1887–1961), the Swiss painter Rodolphe-Theophile Bosshard (1889–1960), and the two painters Albert Gleizes (1881–1953) and Jean Metzinger ( 1883-1956). A young, aspiring artist, Alain Carrier (1924), was still enthusiastic about them in the 1950s and today he knows a lot about their encounters.

A book by Elga Kern was published in Germany in 1930 , in which she was counted among the thirty leading women in Europe. The French state bought five of her works and in 1939 awarded her the order of an “Officier d'Académie” in recognition of her services. Foreign museums, e.g. B. in Prague, acquire individual works by the artist.

In her compositions she deals more and more with modern themes such as sport: “Les joueurs de football” (The football players), “Les rameurs” (The rowers), a large-format painting measuring 2.50 × 1.90 m, “Les Canotiers ”(The Canoeists) have strong colors and extensive light effects. Here, too, the painter plays with triangulation: “Le joueur de tennis” (The tennis player), “Le Coureur” (The runner), “Les Lutteurs” (The Boxers), “La bicyclette” (The racing bike). In addition to sport, she is also interested in technology: "L'Hydravion" (The Seaplane), "L'Aéroplan" (The Airplane), "Composition mécanique" (The Mechanics).

Many works owe their inspiration to the horse races in Longchamp and Auteuil; because Rij-Rousseau always accompanies her husband Maître Loiseau, who is passionate about betting on horse races. Again and again she paints flowers (Fleurs) and still lifes (Nature morte). Her landscapes of Monte Carlo , Annecy , Lake Geneva and the Creuse should also be mentioned.

The forties

Their social decline occurs just as quickly as their social rise. Before the approaching Germans , the Loiseau couple fled to Châtellerault in 1940 and were accommodated there by Edmond-Henri Zeiger-Viallet. Returned to Paris in 1941, Maître Loiseau died there on December 9, 1941 of exhaustion. Now her financial possibilities are narrowing, and in the following years the formerly rich and extravagant lady of Parisian society becomes a single woman who has to worry about finances and who notes the expenses in her diaries, even those for small items such as bread, stamps or Something like that.

At first she is too proud to be helped. She categorically rejects support from friends or the Akademie der Künste. But as early as 1951, at the age of 81, she had to apply for social assistance from the city of Paris; and their fame of yore is also forgotten in the post-war period. In 1955, she was taken in by her niece in Savigny-sur-Braye (Loir-et-Cher) and looked after until her death on October 22, 1956. In the end, she looked for contacts with her other siblings, but couldn't find them. Only with her older sister Françoise in Savigny-sur-Braye and their daughters and children did she maintain good contact throughout her life.

The estate

Rij-Rousseau died in 1956, completely impoverished and forgotten in her niece's house in Savigny-sur-Braye, where she was buried. She gets a poor grave with a small plaque: "Jeanne Coffier Epouse Loiseau 1870–1956". Her grave no longer exists, and nothing remains of her inheritance, neither her paintings nor personal documents.

Shortly after her death, the bereaved in Savigny-sur-Braye found a Parisian art dealer who had visited Rij-Rousseau when she was still living in Paris. He buys more than a hundred works from the unsuspecting family for relatively little money, including paintings by artist friends, e. B. Légers. He then organized two exhibitions, one in his Paris gallery in 1958 and one in the Chateau de Blois in 1959, and sold over 60 of the works exhibited in Blois to a New York gallery in the early 1960s. In preparation for his exhibitions, he publishes a small brochure in which he describes Rij-Rousseau as a forerunner of cubism and as a so-called theoretician of vibrism.

The art world is only gradually beginning to take an interest in Rij-Rousseau again. Images believed to be lost reappear and are offered at auctions. In the USA in particular, interest in Rij-Rousseau seems unbroken. There have been several important exhibitions in New York since 1992. Her works continue to appear in the major auction houses. In the USA alone there are now 22 museums that own works by Rij-Rousseau. In France there are only three.

Little by little, documents are also coming to light that prove Rij-Rousseau's position in the history of art. It will be some time before they have been evaluated by art historians. Then Rij-Rousseau will surely get the place in art history that it deserves. To paraphrase Edmund-Henri Zeiger-Viallet: “So give the emperor what belongs to the emperor”.

Museums

literature

  • Avermaete, Roger. La gravure sur bois modern de l'occident. Vaduz 1977. P. 69
  • Bénézit, Emmanuel. Dictionnaire des peintres, dessinateurs et engraveurs. Edition Gründ. Paris 1999. P. 706
  • Borynack, James R. Foreword. In: Jeanne Rij-Rousseau. Exhibition. Wally Findlay Galleries. New York, January 12 - February 15, 1984.
  • Charmet, Raymond. Dictionnaire de l'art contemporain. Librairie Larousse. Paris 1965. P. 243
  • Charmet, Raymond. Rij Rousseau cubiste oubliée. Revue Arts et Lettres du 26 mars au 1st avril 1958, Paris, Faubg. Saint-Honoré
  • Dangennes, Berthe. Dans: Rij-Rousseau. Exposition de tableaux, tapis haute lisse, tapisseries haute lisse. T.Carmine Gallery. Paris 1924
  • Debray, Cécile / Lucbert, Françoise. La section d'or 1925, 1920, 1912. Editions Cercle d'Art, Paris 2000. P.32; 57; 248; 312; 313; 337.
  • Edouard-Joseph, René. Dictionnaire biographique des artistes contemporains. Tome III, 1910-1930. Paris 1934. pp.208-209
  • Friedman, Barry. Rij-Rousseau, Jeanne. Exhibition - April 8th - May 9th 1992. Barry Friedman Ltd. Galleries, New York
  • Gariépy, Florence: Vibrisme et Cubisme. Étude d'œuvres à thème sportif de Rij-Rousseau dans les années 1920. https://corpus.ulaval.ca/jspui/handle/20.500.11794/37360
  • Kahn, Gustave. Le mercure de France, November 15, 1927. Dans: Mercure de France. (Eds.) Vallettee, Alfred Louis Edmond. Vol. 20, 1927. P.186-187; 765
  • Lista, Giovanni. Qu'est-ce que le futurisme? / Dictionnaire des futuristes. Paris 2015. pp.262-265; Pp. 557-559.
  • Osborne, Harold. The Oxford Companion to Twentieth-Century Art. 1981, p.462
  • Rameix, Christophe. L'école de Crozant: les peintres de la Creuse et de Gargilesse 1850–1950. Souny, Limoges 1991. P. 139/140
  • Rij-Rousseau, Jeanne. About my work. In: Elga Kern (Hrsg.): Leading women in Europe . Munich 1930. pp. 127–128
  • Rij-Rousseau. Egérie du Cubisme 1870–1956. Collectif. Introduction Jean Sutter. Paris 1958
  • Rij-Rousseau WordPress Rij-Rousseau WordPress
  • Ringuenet, Huguette. Jeanne Caffier or Rij Rousseau. Effort, No 35 June 1959, Blois. P. 22
  • Salmon, André. Les arts et la vie. Dans: La Revue de France, 5e année, Tome deuxième, 04/05 1925, Paris. P.576; 581-584
  • Salmon, André. Rij-Rousseau. Préfaces de André Salmon and Berthe Dangennes. Dans: Rij-Rousseau. Exposition de tableaux, tapis haute lisse, tapisseries haute lisse. T.Carmine Gallery. Paris 1924
  • Smith, Jeanette M. Jeanne Rij-Rousseau. The Art of JAMA.
  • JAMA. April 7, 2015; 313 (13): 1298-1299. doi : 10.1001 / jama.2014.11667 .
  • Sutter, Jean. Rij Rousseau. Egérie du Cubisme. Le Vibrisme. 1958. P.3-4
  • Saint-Martin, Jean-Philippe / Terret, Thierry. Le sport français dans l'entre-deux-guerres. L'Harmattan. Paris 2000. P. 109
  • Thormann, Ellen: Tamara de Lempicka. Art critics and artists in Paris. Berlin 1993. p. 106.
  • des Tuffeaux, Pierre. Rij-Rousseau. La nouvelle République du Center Ouest. Tours. March 31, 1958
  • Varnell, Paul. Women's work at Galleries Maurice Sternberg. Chicago Free Press htm. Nov 12, 2008
  • Vollmer, Hans. 20th century artist lexicon. 4. Volume Q - U, Leipzig 1958. p. 69.
  • Zeiger-Viallet, Edmond-Henri: Rij-Rousseau. Artist peintre novateur. In: Sisteron-Journal, 75me Année - N ° 1504, March 1, 1975, p. 1; No 1505, March 8, 1975, p.1; No 1506, March 15, 1975, p.1; No 1507, March 22, 1975, p. 1.

Web links

Commons : Jeanne Rij-Rousseau  - collection of images, videos and audio files

Individual evidence

  1. ↑ Edmond-Henri Zeiger-Viallet (1895-1994): Rij-Rousseau. Artist peintre novateur. In: Sisteron-Journal, 75me Année - N ° 1505, March 8, 1975, p. 1.
  2. ↑ Edmond-Henri Zeiger-Viallet (1895-1994): Rij-Rousseau. Artist peintre novateur. In: Sisteron-Journal, 75me Année - N ° 1504, March 1, 1975, p. 1
  3. ↑ Pogu, Guy. Le Vibrisme. In: Rij-Rousseau. Egérie du Cubisme. Le Vibrisme. Paris 1958. p. 21.
  4. ↑ Edmond-Henri Zeiger-Viallet (1895-1994): Rij-Rousseau. Artist peintre novateur. In: Sisteron-Journal, 75me Année - N ° 1505, March 8, 1975, p. 1.
  5. ↑ Guillaume Apollinaire in: L'Intransigeant, March 3, 1914, p.2 (Salon des Indépendants). Elsewhere, Apollinaire calls her a "seeker". See biography of Rij-Rousseau. About my work. In: Elga Kern (Hrsg.): Leading women in Europe . Munich 1930. pp. 127–128
  6. ↑ See drawing by Juan Gris. “Rij-Rousseau. Céret 1924 ". In: Rouillac: Cheverny. 06/07/2004. Catalog Lot 79 and “Guitar. 1913 ”, dedicated to Rij-Rousseau. In: Kosinski: D. Cooper and the Masters of Cubism. Basel / London. Basel 1987. p. 91.
  7. ↑ Warnod, Jeanine. Le Bateau-Lavoir. Paris 1975. p. 18.
  8. ↑ Guicheteau, Marcel. Paul Sérusier. Paris 1976. P138; 181
  9. ↑ Edmond-Henri Zeiger-Viallet (1895-1994): Rij-Rousseau. Artist peintre novateur. In: Sisteron-Journal, 75me Année - N ° 1505, March 8, 1975, p. 1.
  10. ↑ Pogu quotes the painter as evidence. Unfortunately, he is referring to documents that have been lost. Pogu, guy. Le Vibrisme. In: Rij-Rousseau. Egérie du Cubisme. Le Vibrisme. Paris 1958. pp. 19-22
  11. ↑ Charmet, Raymond. Rij Rousseau cubiste oubliée. In: Revue Arts et Lettres, you 26 mars au 1st avril 1958. Paris, Faubourg Saint-Honoré
  12. ↑ Sutter, Jean. Introduction. In: Rij-Rousseau. Egérie du Cubisme. Le Vibrisme. Paris 1958. p. 4.
  13. ↑ Edmond-Henri Zeiger-Viallet (1895-1994): Rij-Rousseau. Artist peintre novateur. In: Sisteron-Journal, 75me Année - N ° 1506, March 15, 1975, p. 1
  14. ↑ La Coupole. 102, Bd du Montparnasse, 75 014 Paris, Pilier no.12
  15. ^ Ouest, August 6, 1924
  16. ^ Rij-Rousseau. Exposition de tableaux, tapis haute-lisse, tapisseries haute lisse. Paris. Galerie T. Carmine, December 16–31, 1924. 51, rue de Seine, Paris. 30 tableaux, 8 tapis, tapisseries.
  17. ↑ Les Echos d'Art, 01.1928
  18. ^ Ouest, May 6, 1925
  19. ↑ Day, Susan. Art Deco and Modernist Carpets. Chronicle Books LLC San Francisco 2002. p. 16.
  20. ↑ Le Bulletin artistique, July 15, 1925
  21. ↑ Lobstein, Dominique. Dictionnaire des Indépendants 1884–1914. Dijon 2003. Vol. 3 NZ, p. 1499; P.1503 and Sanchez, Pierre. Dictionnaire des Indépendants 1920–1950. Dijon 2008. Vol. 3 Mo-Z, p.1229; P. 1230.
  22. ↑ Sanchez, Pierre. Dictionnaire du Salon d'Automne 1903-1940. Dijon 2006. Vol. 3 Mf-Z, p. 1178; P. 1201.
  23. ↑ Sanchez, Pierre. Dictionnaire du Salon des Tuileries 1923–1962. Dijon 2007. Vol. 2 HZ p. 637.
  24. ↑ Fels, Florent. La section d'or. "Editions Sélection". Chronique de la vie artistique. No 5, Bruxelles December 15, 1920. P.2 ff
  25. ↑ Montparnasse, No. 27, November 1, 1923, p.1, Image: Bois original de Rij Rousseau
  26. ↑ The painting "les Lutteurs" by Rij-Rousseau shows Marcel Hiver and Géo-Charles boxing on the terrace by Dr Madeuf, Rue de Faubourg St.-Jacques. It has been shown at numerous exhibitions, including abroad, and served as a template for the production of the tapestry of the same name in Aubusson. In: Saint-Martin, J.-P. / Terret, T .: Le sport français dans l'Entre-Deux-Guerres. Paris 2000. P. 109
  27. ^ Gaumont Pathé Archives. Vernissage du Salon des Indépendants. 1923. 2307GJ / 00004 / D195721
  28. ^ Thormann, Ellen: Tamara de Lempicka. Art critics and artists in Paris. Berlin 1993. p. 106.
  29. ↑ Galerie Barbazanges, Hodebert, successeur, 109, rue du Faubourg Saint-Honoré: Du 3 au 19 decembre.Exposition d'un groupe de Femmes Peintres Françaises organisée par Rij-Rousseau: Marie-Alix, Fernande Barrey, Chériane, Marguerite Crissay, Hermine David, Suzanne Duchamp, Geneviève Gallibert, Ghy-Lemm, Irène Lagut, Marie Laurencin, Marguerite Matisse, Hélène Perdriat, Valentine Prax, Rij-Rousseau.
  30. ^ Salon du Cercle des Femmes Peintres Françaises. Bruxelles. Galerie Georges Giroux, January 22nd - February 2nd 1927.43, bd du Régent, Bruxelles. Marie-Alix, Chériane, Crissay, Hermine David, Suzanne Duchamp, Geneviève Gallibert, Ghy-Lemm, Irène Lagut, Marguerite Matisse, Rij-Rousseau.
  31. ↑ The year of birth is noted on your student ID as 1880.
  32. ^ Rij-Rousseau. Exposition Rij-Rousseau. Paris. Galerie d'Art du Montparnasse, May 24th - June 7th 1929. 132, bd du Montparnasse, Paris. 44 tableaux
  33. ^ Paris. Galerie Corot, March 10-30, 1944. Peintures de Creixams, Effinger, Léon Gard, Kvapil, Guy Lemm, Rij Rousseau.
  34. ↑ Exposition Internationale d'Art Moderne. Genève, December 26, 1920 to January 25, 1921. Rousseau Rij (Mme)
  35. ^ Kahn, Gustave. Le Mercure de France. January 15, 1926. pp. 491 f.
  36. ^ Coutant, Henry. Ouest, August 6, 1924 and Ouest, January 3, 1925
  37. ^ Warnod, André. Comoedia, December 6, 1925, p. 3.
  38. ^ Salmon, André. In: Les Arts et la Vie. La Revue de France. 03/04 1925, pp. 581-584
  39. ↑ Fels, Florent. In: L'Art vivant. No. 1, janvier 1925, p. 19.
  40. ↑ Fegdal, Charles. La Revue des Beaux-arts. No. 449, April 1, 1926. p. 2.
  41. ↑ In a letter from 1947, Metzinger Rij-Rousseau reported that he had taken care of the hanging of her pictures in the Palais de New York.
  42. ↑ Elga Kern (Ed.): Leading women in Europe . Munich 1930. pp. 127–128
  43. ↑ Edouard-Joseph, René. Dictionnaire biographique des artistes contemporains. Tome III, 1910-1930. Paris 1934. pp.208-209
  44. ↑ Le Crapouillot, 05.1928 p. 37
  45. ↑ Comoedia, January 21, 1927 p. 1
  46. ↑ Le Crapouillot, 04.1926 p. 30
  47. ↑ Edmond-Henri Zeiger-Viallet (1895-1994): Rij-Rousseau. Artist peintre novateur. In: Sisteron-Journal, 75me Année - N ° 1504, March 1, 1975, p. 1
  48. ^ Paris. Galerie de l'Institut, March 20 - April 10, 1958. 6, rue de Seine, Paris (“causes et conditions du cubisme”)
  49. ^ Exposition Jeanne Rij-Rousseau. Château de Blois, June 6-29, 1959. 63 tableaux, dessins, tapis, tapisseries
  50. ^ Exhibition Jeanne Rij-Rousseau. New York. Hirschl and Adler Galleries, January 10-27, 1962. 31 tableaux 11 drawings
  51. ^ Rij-Rousseau. Egérie du Cubisme 1870–1956. Collectif. Introduction Jean Sutter. Paris 1958
  52. ^ Sotheby's London. May 24, 1989. Impressionist and Modern Paintings, Drawings, Watercolors and Sculpture.
  53. ^ Exhibition Jeanne Rij-Rousseau. New York. Wally Findlay Galleries, January 12th - February 15th 1984. Exhibition Jeanne Rij-Rousseau. New York. Barry Friedman Ltd., April 8 - May 9, 1992. Barry Friedman Ltd. New York. Galleries Sternberg. Chicago, November 17-30, 2008. Women's work: notable women artists, 1850-1950.
  54. ↑ Sotheby's. New York, March 14, 2012. Impressionist and Modern Art, Including Russian Art
  55. ↑ Zeiger-Viallet: Sur deux livres, in: Sisteron- Journal, No 1134 of November 18, 1967, p. 1.
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personal data
SURNAME Rij-Rousseau, Jeanne
BRIEF DESCRIPTION French painter, cubist artist and art theorist
DATE OF BIRTH June 10, 1870
PLACE OF BIRTH Candé
DATE OF DEATH October 22, 1956
Place of death Savigny-sur-Braye