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"In Limoges, France, there is a lycée named Lycée Suzanne Valadon. This school does a biannual exchange with David W. Butler High School, in Matthews, North Carolina." - Don't you feel that this last sentence is completely irrelevant?
I agree, completely irrelevent. Also, she is described as striking and beautiful which is purely oppionion. I find her very pretty but there are few pictures of her so it's hard to tell. Alanna Edwards 17:40, 10 January 2006 (UTC)
Can anyone expand on her relationship with Lautrec? She was his muse, lover and he was reportedly a big help with her career (even encouraging her to change her name from marie clementine to suzanne as it was more respectable)
<< She modeled for artists such as Henri de Toulouse-Lautrec (who gave her painting lessons), Pierre-Auguste Renoir, and Pierre-Cécile Puvis de Chavannes, and is known to have had an affair with the latter two.>> I think this need to be change because she one of Lautrec's models and possibly his mistress as well!
"In the early 1890s she befriended Edgar Degas who, impressed with her bold line drawings and fine paintings, purchased her work and encouraged her efforts. She remained one of Degas' closest friends until his death." Does anyone have a citation for this? According to Valadon's bio on the National Museum of Women in the Arts, he was indeed a friend and mentor and taught Valadon drawing and printmaking techniques. I haven't found anything suggesting he had purchased Valadon's work, though. Arthistorygrrl ( talk) 19:10, 20 December 2012 (UTC)
As a part of an art history class project, I am planning on making extensive edits to this article. I am planning on restructuring some of the current sections, as well as adding more information with proper citations. Please also note that I will be adding a few additional sources to the reference section and have included minor inline citations to this rough draft for personal reference. I plan to add the following information throughout the article:
The subjects of her drawings and paintings included mostly female nudes, female portraits, still lives, landscapes. She never attended the academy and was never confined within a tradition (Warnod 40). Suzanne spent nearly 40 years of her life as an artist (Marchesseau 9).
Suzanne didn’t know her father, and she grew up in poverty with her mother. She was known to be quite independent and rebellious. She attended primary school until age 11. She then worked in a milliner’s workshop, a factory making funeral wreaths, the market selling vegetables, a waitress in a restaurant, and then finally in the circus at age 15 (Warnod 13). Suzanne gave birth to her illegitimate son, Maurice Utrillo, in 1883 at the age of 18 (Marchesseau 9). Suzanne’s mother cared for her son (Marchesseau 15). Miguel Utrillo would later sign papers recognizing Maurice as his son, although his true paternity is uncertain (Warnod 48). Suzanne helped educate herself by reading Lautrec’s books and observing the artists she posed for (Warnod 40).
In 1895 Suzanne married stock broker Paul Moussis. For 13 years she led a bourgeois life between an apartment in Paris and a house in the outlying region (Marchesseau 16). In 1909, Suzanne began her affair with André Utter, age 23 and a friend of her son. She would later divorce Paul in 1913 (Marchesseau 17-18). Suzanne married Utter in 1914 (OAO). Suzanne Valadon died of a stroke at the age of 73 (Warnod 88).
She debuted as a model in 1880 in Montmartre at age 15 (Rose 9). She modeled for over 10 years for many different artists: Puvis de Chavannes, Steinlen, Renoir, and Toulouse-Lautrec. She was also known to be good friends with Degas (Marchesseau 9). She modeled under the name “Maria” and was thought to of had many affairs with the artists she modeled for. She was considered seductive, provocative, comely, voluptuous, and flighty as a model. Toulouse-Lautrec nicknamed her “Suzanne” after the biblical story of Suzanne and the Elders (Marchesseau 14). She was considered a very focused, ambitious, rebellious, determined, self-confident, and passionate woman (Marchesseau 15).
Her class allowed her to enter the male public domain of art through modeling and then emerged as an artist within her circle of prominent male artists. She resists typical depictions of women via their class and supposed sexuality. (Mathews 416).
Her first portrait was created in 1883 at age 18 before she gave birth to her son (Warnod 8). She produced mostly drawings from 1883-1893. Her first models were her family members, often her son, mother, or niece (Warnod 48). Her first paintings were created in 1892-1893 (Warnod 57). Her first female nude was made in 1892 (Rose 97). Suzanne’s first time in the Salon de la Nationale was in 1894. Degas was the first person to buy drawings from her (Warnod 51). Degas also taught her soft-ground etching (Warnod 55). She made a shift from drawing to painting during her initial relationship with Utter starting in 1909 (Marchesseau 17). Her first large oils for the Salon related to sexual pleasure, and they were some of the first examples in painting for the man to be an object of desire by a woman. These notable Salon paintings include Adam et Eve (Adam and Eve) (1909), La joie de vivre (Joy of Living) (1911), Lancement du filet (Casting of the Net) (1914) (Marchesseau 18-19). Suzanne produced around 300 drawings and over 450 oil paintings by the end of her life (Marchesseau 17).
It’s thought that her experience as a model and as an artist allowed her to analyze the process that transformed and positioned the body as an object of the gaze within a work of art and influenced her understanding and perspective of women and the female body (Mathews 415). Suzanne Valadon has been considered transgressive in her position as a woman painting the nude female body, which was considered not a “proper woman artist” (Mathews 418). Use of unidealized bodies that are not overtly sexualized (Mathews 419). Self-possessed figures (Mathews 423).
The “delicate hand” of a female painter goes undiscerned in her painting (Marchesseau 13). She primarily worked with oil paint, oil pencils, pastels, and red chalk; she did not care to use ink or watercolor because these mediums were too fluid for her preference (Marchesseau 16). Suzanne’s paintings feature rich colors and bold, open brushwork often featuring firm black lines to define and outline her figures (Marchesseau 9). She used hard black lines to emphasize the structure of the body (Warnod 48). She also used firm lines in her nudes to emphasize the play of light on curves.
Suzanne’s self-portraits, portraits, nudes, landscapes, and still lifes remain knowingly detatched from trends and aspects of academic art (Marchesseau 9, 11). The subjects of Suzanne’s paintings often reinvented her masters’ themes: women at their toilette, reclining nudes, and interior scenes. Common features of her paintings included bourgeois décor, furniture, living rooms, and washrooms with a tub. Many have suggested a vibrant, emotional sense that emanates from her drawings and paintings as a result from a fraternal or familial observation of these women’s bodies. Suzanne emphasized her focus on the importance of composition over painting expressive eyes (Marchesseau 16). Suzanne’s later paintings are marked with richer color and crowded decorative backgrounds. (OAO)
Cq245809 ( talk) 16:36, 23 October 2014 (UTC)
Hello, and if someone more tech and image-upload savvy than myself could find and upload an image of Valadon's The Blue Room it would be the image for only one of two English Wikipedia articles on Valadon's work. And more pages please ( here are some of Valadon's paintings, with almost all linking to just the image and without an article). Thanks. Randy Kryn ( talk) 17:03, 17 August 2018 (UTC)
That painting by Rusiñol is either mis-dated, or that is not Utrillo. The date displayed is 1891 - so Utrillo, who was born in December 1883, would have been seven or eight years old in 1891. That guy with a mustache is obviously older than eight. — Preceding unsigned comment added by 2603:7000:2703:74:482D:6403:DAD4:F319 ( talk) 14:19, 2 November 2023 (UTC)
The following Wikimedia Commons files used on this page or its Wikidata item have been nominated for deletion:
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Expand section on death reorganize the article, it looks bad; include gallery near the bottom and at least have personal life go above it (include information firstly over references, see also, etc - this is a good principle to follow). 69.174.166.22 ( talk) 19:45, 22 December 2023 (UTC)
Expand section on death. Do you have citations that have more information about her death? Peaceray ( talk) 22:55, 22 December 2023 (UTC)
Thank you to whomever put the work into this. I can't get enough of her or Satie. Viriditas ( talk) 20:07, 3 April 2024 (UTC)
Valadon was the basis for the character Suzanne Rouvier in the novel The Razor's Edge by W. Somerset Maugham.[76][better source needed]
@ Peaceray: I'm pinging you here about this quoted passage because you've recently been active. Do you think we should remove this statement? I've looked in the available literature, and the only thing I've been able to confirm is the following:
At New York in February 1949, *Maugham purchased from the gallery of Paul Rosenberg Utrillo's Une Rue au Conquent for $4,500, placing it in the name of his daughter, *Lady John (Liza) Hope
This is according to A William Somerset Maugham Encyclopedia (1997) edited by Rogal. It appears on page 292 and has two citations: Morgan, Ted. (1980)[1979]. Maugham. New York: Simon and Schuster; and Vinson, James, ed. (1990). International Dictionary of Art and Artists. Volume 2: Artists. Chicago and London: St. James Press. As you are likely aware, the painting, Une Rue au Conquent was made by Maurice Utrillo, the son of Valadon. That's the only verified connection I could find, but perhaps there are more sources out there. For reference, Maugham published The Razor's Edge five years before he acquired the painting. Viriditas ( talk) 02:09, 30 June 2024 (UTC)
...while Bruant was at the Chat Noir and his lively wit and argot songs depicting the joys and miseries of the dispossessed were enchanting the night-club crowd, the intelligentsia, which considered itself responsible for the success of both Salis and Bruant, withdrew to a room in the rear which became known as "the Institute"...There Guy de Maupassant read his stories aloud, Sarah Bernhardt and Coquelin cadet performed Shakespearean dialogues, and Stephane Mallarme and sometimes Paul Verlaine spoke their verses. Anatole France, Andre Gill, Jean-Louis Forain, Georges Auriol, Andr Antoine, and young Claude Debussy, too, exhibited their various skills when the mood was upon them, and were roundly cheered by that group of artists, models, musicians, students, and writers who were pleased to consider themselves, according to one of their number, "the only intellectual force of the Third Republic." Young Miguel Utrillo, with his two-hour lecture on the Bal del Ciri y was not out of place in such company...His lecture at the Chat Noir delighted Suzanne Valadon as much as it did the other habitues of the Institute. Whether or not this was the occasion of their first meeting we do not know. Suzanne often spoke of Miguel's lecture, especially of the contrepas and sardanas which he subsequently taught her and which she often later performed at parties. However, shortly after the performance at the Chat Noir she was to be found frequently in his company.
This
level-5 vital article is rated B-class on Wikipedia's
content assessment scale. It is of interest to the following WikiProjects: | ||||||||||||||||||||||||||||||||||||||||||||||||||||
|
This article was the subject of an educational assignment in Fall 2014. Further details were available on the "Education Program:Muhlenberg College/Women and Art (Fall 2014)" page, which is now unavailable on the wiki. |
"In Limoges, France, there is a lycée named Lycée Suzanne Valadon. This school does a biannual exchange with David W. Butler High School, in Matthews, North Carolina." - Don't you feel that this last sentence is completely irrelevant?
I agree, completely irrelevent. Also, she is described as striking and beautiful which is purely oppionion. I find her very pretty but there are few pictures of her so it's hard to tell. Alanna Edwards 17:40, 10 January 2006 (UTC)
Can anyone expand on her relationship with Lautrec? She was his muse, lover and he was reportedly a big help with her career (even encouraging her to change her name from marie clementine to suzanne as it was more respectable)
<< She modeled for artists such as Henri de Toulouse-Lautrec (who gave her painting lessons), Pierre-Auguste Renoir, and Pierre-Cécile Puvis de Chavannes, and is known to have had an affair with the latter two.>> I think this need to be change because she one of Lautrec's models and possibly his mistress as well!
"In the early 1890s she befriended Edgar Degas who, impressed with her bold line drawings and fine paintings, purchased her work and encouraged her efforts. She remained one of Degas' closest friends until his death." Does anyone have a citation for this? According to Valadon's bio on the National Museum of Women in the Arts, he was indeed a friend and mentor and taught Valadon drawing and printmaking techniques. I haven't found anything suggesting he had purchased Valadon's work, though. Arthistorygrrl ( talk) 19:10, 20 December 2012 (UTC)
As a part of an art history class project, I am planning on making extensive edits to this article. I am planning on restructuring some of the current sections, as well as adding more information with proper citations. Please also note that I will be adding a few additional sources to the reference section and have included minor inline citations to this rough draft for personal reference. I plan to add the following information throughout the article:
The subjects of her drawings and paintings included mostly female nudes, female portraits, still lives, landscapes. She never attended the academy and was never confined within a tradition (Warnod 40). Suzanne spent nearly 40 years of her life as an artist (Marchesseau 9).
Suzanne didn’t know her father, and she grew up in poverty with her mother. She was known to be quite independent and rebellious. She attended primary school until age 11. She then worked in a milliner’s workshop, a factory making funeral wreaths, the market selling vegetables, a waitress in a restaurant, and then finally in the circus at age 15 (Warnod 13). Suzanne gave birth to her illegitimate son, Maurice Utrillo, in 1883 at the age of 18 (Marchesseau 9). Suzanne’s mother cared for her son (Marchesseau 15). Miguel Utrillo would later sign papers recognizing Maurice as his son, although his true paternity is uncertain (Warnod 48). Suzanne helped educate herself by reading Lautrec’s books and observing the artists she posed for (Warnod 40).
In 1895 Suzanne married stock broker Paul Moussis. For 13 years she led a bourgeois life between an apartment in Paris and a house in the outlying region (Marchesseau 16). In 1909, Suzanne began her affair with André Utter, age 23 and a friend of her son. She would later divorce Paul in 1913 (Marchesseau 17-18). Suzanne married Utter in 1914 (OAO). Suzanne Valadon died of a stroke at the age of 73 (Warnod 88).
She debuted as a model in 1880 in Montmartre at age 15 (Rose 9). She modeled for over 10 years for many different artists: Puvis de Chavannes, Steinlen, Renoir, and Toulouse-Lautrec. She was also known to be good friends with Degas (Marchesseau 9). She modeled under the name “Maria” and was thought to of had many affairs with the artists she modeled for. She was considered seductive, provocative, comely, voluptuous, and flighty as a model. Toulouse-Lautrec nicknamed her “Suzanne” after the biblical story of Suzanne and the Elders (Marchesseau 14). She was considered a very focused, ambitious, rebellious, determined, self-confident, and passionate woman (Marchesseau 15).
Her class allowed her to enter the male public domain of art through modeling and then emerged as an artist within her circle of prominent male artists. She resists typical depictions of women via their class and supposed sexuality. (Mathews 416).
Her first portrait was created in 1883 at age 18 before she gave birth to her son (Warnod 8). She produced mostly drawings from 1883-1893. Her first models were her family members, often her son, mother, or niece (Warnod 48). Her first paintings were created in 1892-1893 (Warnod 57). Her first female nude was made in 1892 (Rose 97). Suzanne’s first time in the Salon de la Nationale was in 1894. Degas was the first person to buy drawings from her (Warnod 51). Degas also taught her soft-ground etching (Warnod 55). She made a shift from drawing to painting during her initial relationship with Utter starting in 1909 (Marchesseau 17). Her first large oils for the Salon related to sexual pleasure, and they were some of the first examples in painting for the man to be an object of desire by a woman. These notable Salon paintings include Adam et Eve (Adam and Eve) (1909), La joie de vivre (Joy of Living) (1911), Lancement du filet (Casting of the Net) (1914) (Marchesseau 18-19). Suzanne produced around 300 drawings and over 450 oil paintings by the end of her life (Marchesseau 17).
It’s thought that her experience as a model and as an artist allowed her to analyze the process that transformed and positioned the body as an object of the gaze within a work of art and influenced her understanding and perspective of women and the female body (Mathews 415). Suzanne Valadon has been considered transgressive in her position as a woman painting the nude female body, which was considered not a “proper woman artist” (Mathews 418). Use of unidealized bodies that are not overtly sexualized (Mathews 419). Self-possessed figures (Mathews 423).
The “delicate hand” of a female painter goes undiscerned in her painting (Marchesseau 13). She primarily worked with oil paint, oil pencils, pastels, and red chalk; she did not care to use ink or watercolor because these mediums were too fluid for her preference (Marchesseau 16). Suzanne’s paintings feature rich colors and bold, open brushwork often featuring firm black lines to define and outline her figures (Marchesseau 9). She used hard black lines to emphasize the structure of the body (Warnod 48). She also used firm lines in her nudes to emphasize the play of light on curves.
Suzanne’s self-portraits, portraits, nudes, landscapes, and still lifes remain knowingly detatched from trends and aspects of academic art (Marchesseau 9, 11). The subjects of Suzanne’s paintings often reinvented her masters’ themes: women at their toilette, reclining nudes, and interior scenes. Common features of her paintings included bourgeois décor, furniture, living rooms, and washrooms with a tub. Many have suggested a vibrant, emotional sense that emanates from her drawings and paintings as a result from a fraternal or familial observation of these women’s bodies. Suzanne emphasized her focus on the importance of composition over painting expressive eyes (Marchesseau 16). Suzanne’s later paintings are marked with richer color and crowded decorative backgrounds. (OAO)
Cq245809 ( talk) 16:36, 23 October 2014 (UTC)
Hello, and if someone more tech and image-upload savvy than myself could find and upload an image of Valadon's The Blue Room it would be the image for only one of two English Wikipedia articles on Valadon's work. And more pages please ( here are some of Valadon's paintings, with almost all linking to just the image and without an article). Thanks. Randy Kryn ( talk) 17:03, 17 August 2018 (UTC)
That painting by Rusiñol is either mis-dated, or that is not Utrillo. The date displayed is 1891 - so Utrillo, who was born in December 1883, would have been seven or eight years old in 1891. That guy with a mustache is obviously older than eight. — Preceding unsigned comment added by 2603:7000:2703:74:482D:6403:DAD4:F319 ( talk) 14:19, 2 November 2023 (UTC)
The following Wikimedia Commons files used on this page or its Wikidata item have been nominated for deletion:
Participate in the deletion discussion at the nomination page. — Community Tech bot ( talk) 12:22, 16 February 2020 (UTC)
This
edit request has been answered. Set the |answered= or |ans= parameter to no to reactivate your request. |
Expand section on death reorganize the article, it looks bad; include gallery near the bottom and at least have personal life go above it (include information firstly over references, see also, etc - this is a good principle to follow). 69.174.166.22 ( talk) 19:45, 22 December 2023 (UTC)
Expand section on death. Do you have citations that have more information about her death? Peaceray ( talk) 22:55, 22 December 2023 (UTC)
Thank you to whomever put the work into this. I can't get enough of her or Satie. Viriditas ( talk) 20:07, 3 April 2024 (UTC)
Valadon was the basis for the character Suzanne Rouvier in the novel The Razor's Edge by W. Somerset Maugham.[76][better source needed]
@ Peaceray: I'm pinging you here about this quoted passage because you've recently been active. Do you think we should remove this statement? I've looked in the available literature, and the only thing I've been able to confirm is the following:
At New York in February 1949, *Maugham purchased from the gallery of Paul Rosenberg Utrillo's Une Rue au Conquent for $4,500, placing it in the name of his daughter, *Lady John (Liza) Hope
This is according to A William Somerset Maugham Encyclopedia (1997) edited by Rogal. It appears on page 292 and has two citations: Morgan, Ted. (1980)[1979]. Maugham. New York: Simon and Schuster; and Vinson, James, ed. (1990). International Dictionary of Art and Artists. Volume 2: Artists. Chicago and London: St. James Press. As you are likely aware, the painting, Une Rue au Conquent was made by Maurice Utrillo, the son of Valadon. That's the only verified connection I could find, but perhaps there are more sources out there. For reference, Maugham published The Razor's Edge five years before he acquired the painting. Viriditas ( talk) 02:09, 30 June 2024 (UTC)
...while Bruant was at the Chat Noir and his lively wit and argot songs depicting the joys and miseries of the dispossessed were enchanting the night-club crowd, the intelligentsia, which considered itself responsible for the success of both Salis and Bruant, withdrew to a room in the rear which became known as "the Institute"...There Guy de Maupassant read his stories aloud, Sarah Bernhardt and Coquelin cadet performed Shakespearean dialogues, and Stephane Mallarme and sometimes Paul Verlaine spoke their verses. Anatole France, Andre Gill, Jean-Louis Forain, Georges Auriol, Andr Antoine, and young Claude Debussy, too, exhibited their various skills when the mood was upon them, and were roundly cheered by that group of artists, models, musicians, students, and writers who were pleased to consider themselves, according to one of their number, "the only intellectual force of the Third Republic." Young Miguel Utrillo, with his two-hour lecture on the Bal del Ciri y was not out of place in such company...His lecture at the Chat Noir delighted Suzanne Valadon as much as it did the other habitues of the Institute. Whether or not this was the occasion of their first meeting we do not know. Suzanne often spoke of Miguel's lecture, especially of the contrepas and sardanas which he subsequently taught her and which she often later performed at parties. However, shortly after the performance at the Chat Noir she was to be found frequently in his company.