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Artwork information

Category

Drawing

Technique

Trois crayons on paper

Date

1890

Dimensions

37 cm x 50 cm

Signature

Signed lower right

Proof(s) of authenticity

This drawing is referenced in the database of Les Amis de Paul-César Helleu and bears the APCH reference: DE1-1749. This drawing will be part of the artist's digital catalogue raisonné which is currently being finalised.

State of conservation

Very good

Framing

Yes

Location

Aquitaine, France

Description

Trained by Jean-Léon Gérôme, Paul-César Helleu (1859-1927) took advantage of the academic training he received from his master. At a very young age, he developed a passion for Ingres and Watteau, which he studied assiduously. Helleu expressed his talent and freedom through drawing, using a few strokes of sanguine, black pencil and white chalk, which he mixed together to bring out all the charm and beauty of his models.

It is in the intimacy of his family that he has created with great tenderness the most beautiful of these "trois crayons" drawings and studies. This drawing is a perfect example, it represents Lucie Clarigny who was the sister of Alice Helleu, the artist's wife. This study is to be compared with Antoine Watteau's studies with "trois crayons" which made a large part of his fame.

This poignant intimacy through drawing shows us Helleu's tender sensitivity, a part of his art that he did not want to make known during his lifetime. Paul-César Helleu is not only a virtuoso draughtsman, a prolific artist, he mastered drypoint marvellously, oil painting and pastel. During his lifetime, Helleu met immense success on both sides of the Atlantic. A great friend of Marcel Proust, Charlie Chaplin, Santos Dumont, Claude Monet, Jacques-Emile Blanche, and many others, Helleu is one of the most talented artists of the Belle Époque.

This drawing has a quite remarkable provenance as it comes from the Devonshire Collection at Chatworth Castle, considered to be the English Versailles. The drawing was recommended by Paul-César Helleu's daughter Paulette Howard-Johnston to Diana Mitford, wife of the Duke of Devonshire.

Provenance

French private collection
Hirschl & Adler Galleries, Inc, New York
Posner Gallery, Milwaukee
RHR, San Francisco
Duke of Devonshire, England

Exhibition(s)

"Regards sur un port", Villa Ducontenia in Saint-Jean-de-Luz, France, from 16 June to 18 August 2019.


Paul-César Helleu

Painter
Drawer
FranceBorn in : 1859Famous artistFamous artist

Paul-César Helleu's name evokes an era, and particularly a society from the end of the 19th century to the last years before the First World War in Europe, which Marcel Proust described so admirably in his works.

Delicacy, taste and his very personal talent as a draughtsman have largely contributed to the extraordinary success of this artist. His celebrity is based on the virtuoso representation of beautiful women from the great Parisian milieu, but also from the international society dominated by Anglo-Saxon elegance.

Today, the history of painting sums him up in representations that limit his talent too much to the fashion of a time, without taking into account a whole part of his artistic production devoted to the painting of nature, sea landscapes in particular, where refinement is in tune with the sensitive accents of a true artist.

Helleu was born in Vannes in 1859. On the death of his father, a customs inspector, he was sent to Paris to the Lycée Chaptal. In 1876, he was admitted to the École des Beaux-Arts de Paris in Jean-Léon Gérôme's studio, but it was mainly outdoor painters who attracted him. He became friends with Whistler and Sargent, then with Monet, whom he met at Durand-Ruel's during the second Impressionist Exhibition.

In order to survive, Helleu works for the ceramist Deck for whom he executes plate decorations. It was on this occasion that he met Giovanni Boldini, with whom he would share a very long friendship.

With Jacques-Émile Blanche, he shares a passionate taste for England since a trip to London in 1885. That same year, he tried his hand at engraving with a diamond point offered by James Tissot.

In 1884, Madame Guérin commissioned him to paint a portrait of her daughter Alice, then aged 14. He fell madly in love with her and married her two years later. The pastel, created for this occasion, as well as La Gare Saint-Lazare were presented at the 1885 Salon.

In 1886, having already been noticed in several exhibitions, he and his friend Monet refused to take part in the 8th Impressionist Exhibition despite Degas's requests. This is no doubt the reason why he was never part of the Impressionist movement, nor was he recognised as such. The following year, Robert de Montesquiou bought a lot of six engravings from him. From this meeting a deep friendship was born with the collector who put him in touch with his cousin, Countess Greffuhle. From that moment on, the artist entered Parisian society and became the fashionable portrait painter.

In 1893, Helleu began a series of stained-glass windows of cathedrals and, the following year, he changed his theme and lingered on the park of Versailles.

In 1897, he exhibited his paintings of Versailles and his seascapes at the Salon du Champ de Mars.

The artist was an innovator who attracted the admiration and curiosity of his contemporaries. In 1889, contrary to the pronounced taste of the time for dark interiors, he had the walls of his flat at 68 Bld Pereire painted white, followed by those of 45 rue Émile Ménier.

Helleu was soon in demand everywhere: he exhibited in London in 1895, where the exhibition catalogue, with a preface by Edmond de Goncourt, established his reputation. He then met Marcel Proust who was introduced to him by Montesquiou and began a deep relationship with him that would inspire the author to write the character of the painter Elstir in A la Recherche du Temps Perdu. Helleu engraved the portrait of Marcel Proust on his deathbed.

Like Elstir, Helleu is passionate about the sea. To the pleasure of the yachtsman, who spends most of his time on superb boats - he will own four of them - the painter discovers new sources of inspiration as much in the women's toilets as in his visions of the water and the sky, sometimes veiled, sometimes bluish.

The Helleu style, which characterises elegance or refinement and feminine grace, was a huge success in Paris, London and New York, where he travelled from 1902 onwards. He had great success in the United States with his portraits of elegant women and, in 1912, he was commissioned to paint the ceiling of the Hall of the Grand Central Station in New York with the theme of the signs of the zodiac: he composed a starry vault, crossed by a zodiac with gold signs and a silver milky way.

Helleu died in 1927, following an operation while he was planning a major exhibition of his paintings with Forain.


"The graceful Helleu painted in an unknown colour between delight and blue." Stéphane Mallarmé 

Paul-César Helleu

FranceBorn in : 1859Famous artistFamous artist
Painter
Drawer

Paul-César Helleu's name evokes an era, and particularly a society from the end of the 19th century to the last years before the First World War in Europe, which Marcel Proust described so admirably in his works.

Delicacy, taste and his very personal talent as a draughtsman have largely contributed to the extraordinary success of this artist. His celebrity is based on the virtuoso representation of beautiful women from the great Parisian milieu, but also from the international society dominated by Anglo-Saxon elegance.

Today, the history of painting sums him up in representations that limit his talent too much to the fashion of a time, without taking into account a whole part of his artistic production devoted to the painting of nature, sea landscapes in particular, where refinement is in tune with the sensitive accents of a true artist.

Helleu was born in Vannes in 1859. On the death of his father, a customs inspector, he was sent to Paris to the Lycée Chaptal. In 1876, he was admitted to the École des Beaux-Arts de Paris in Jean-Léon Gérôme's studio, but it was mainly outdoor painters who attracted him. He became friends with Whistler and Sargent, then with Monet, whom he met at Durand-Ruel's during the second Impressionist Exhibition.

In order to survive, Helleu works for the ceramist Deck for whom he executes plate decorations. It was on this occasion that he met Giovanni Boldini, with whom he would share a very long friendship.

With Jacques-Émile Blanche, he shares a passionate taste for England since a trip to London in 1885. That same year, he tried his hand at engraving with a diamond point offered by James Tissot.

In 1884, Madame Guérin commissioned him to paint a portrait of her daughter Alice, then aged 14. He fell madly in love with her and married her two years later. The pastel, created for this occasion, as well as La Gare Saint-Lazare were presented at the 1885 Salon.

In 1886, having already been noticed in several exhibitions, he and his friend Monet refused to take part in the 8th Impressionist Exhibition despite Degas's requests. This is no doubt the reason why he was never part of the Impressionist movement, nor was he recognised as such. The following year, Robert de Montesquiou bought a lot of six engravings from him. From this meeting a deep friendship was born with the collector who put him in touch with his cousin, Countess Greffuhle. From that moment on, the artist entered Parisian society and became the fashionable portrait painter.

In 1893, Helleu began a series of stained-glass windows of cathedrals and, the following year, he changed his theme and lingered on the park of Versailles.

In 1897, he exhibited his paintings of Versailles and his seascapes at the Salon du Champ de Mars.

The artist was an innovator who attracted the admiration and curiosity of his contemporaries. In 1889, contrary to the pronounced taste of the time for dark interiors, he had the walls of his flat at 68 Bld Pereire painted white, followed by those of 45 rue Émile Ménier.

Helleu was soon in demand everywhere: he exhibited in London in 1895, where the exhibition catalogue, with a preface by Edmond de Goncourt, established his reputation. He then met Marcel Proust who was introduced to him by Montesquiou and began a deep relationship with him that would inspire the author to write the character of the painter Elstir in A la Recherche du Temps Perdu. Helleu engraved the portrait of Marcel Proust on his deathbed.

Like Elstir, Helleu is passionate about the sea. To the pleasure of the yachtsman, who spends most of his time on superb boats - he will own four of them - the painter discovers new sources of inspiration as much in the women's toilets as in his visions of the water and the sky, sometimes veiled, sometimes bluish.

The Helleu style, which characterises elegance or refinement and feminine grace, was a huge success in Paris, London and New York, where he travelled from 1902 onwards. He had great success in the United States with his portraits of elegant women and, in 1912, he was commissioned to paint the ceiling of the Hall of the Grand Central Station in New York with the theme of the signs of the zodiac: he composed a starry vault, crossed by a zodiac with gold signs and a silver milky way.

Helleu died in 1927, following an operation while he was planning a major exhibition of his paintings with Forain.


"The graceful Helleu painted in an unknown colour between delight and blue." Stéphane Mallarmé