ART “4”
“2”-DAY 17 December BIRTH OF HENRI ÉMILIEN ROUSSEAU v.6.b0 |
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Born on 17 December 1875: Henri Émilien
Rousseau, French Orientalist
painter and illustrator who studied under Gérôme.
H.E. Rousseau died on 28 March 1933. — Not to be confused with “le
douanier” Henri-Julien-Félix
Rousseau [21 May 1844 – 02 Sep 1910]. — Henri Rousseau grew, worked, and died under the sign of light. It is in Cairo, Egypt, that he was born; it is in Provence and in North Africa that, during a third of century, he best applied his talent; it is on a luminous day that he died at Aix-en-Provence. His first home, large and comfortable, was in Cairo. It was that of his father Léon Rousseau Pasha [1840–], a civil engineer graduate of the École Polytechnique, hired nine years earlier by Ferdinand de Lesseps to dig a section of the Suez Canal. Leon succeeded so well that after the inauguration it was engaged by the viceroy of Egypt, Ismail Pasha, as director then Secretary of State to public works. Shining organizing, affirmed, agnostic, concerned personality of the reputation of France, he is man of conscience and honest civil servant. Complying with the regulations of the Ottoman administration, he wore a fez, a black frock coat, and a ceremonial saber. The household with its servants were overseen by Léon Rousseau's Italian-born partner, Marie-Angèle Dona, 30. She would give birth to nine children, of which three would live only a few weeks. Henri was the eldest. As soon as he was old enough to ride, he was given a white donkey, and later a pony on which he went into the tortuous crowded streets, which he would later fondly recall together with the odors of the souk, the noise of the city, the felouques on the Nile, and the evening light on the ruins. At first his father taught him instruction then, when the boy was seven, he sent him to the German school in Cairo. Henri also sailed, by the force of circumstances but with a keen interest, between Alexandria and the ports of the Western Mediterranean. In 1881, when he was 6, an insurrection led Marie-Angéle to seek safety in France for a few months, with her first three children. Henri discovered his fatherland at Marseille. In 1883, an cholera epidemic forced them to again take to the sea but this time towards Genoa. Inspired by these adventures, the kid drew in his notebooks ships, soldiers, and battles. Finally in 1884, Henri, now 9, and the whole family left Egypt for good. Rousseau Pasha had been granted a comfortable pension, and replaced by a British officer. The Rousseau family first settled at Cannes, then choose Versailles in 1885. That year, shortly before turning ten, Henri entered the Eudists' École Saint-Jean, where he studied until the baccalauréat. Among his fellow students there were Pierre Ravanne, who became his best friend and later his brother-in-law, and Ambroise Rendu with whom he would be reunited much later in Toulouse and the son of which one of his daughters would marry. Henri studied hard. To the regular courses, he added private lessons of German, piano, gymnastics, horsemanship, and fencing. The boy from Cairo, who has knocked around quite a bit, settles down: he learns discipline, reflexion, the composure. He passed the baccalauréat de Mathématiques Élémentaires with the mention “Assez Bien” and, conforming to his father's wishes, entered the class of Mathématiques Supérieures at the Lycée Hoche, preparing for the École Polytechnique or another professional Grande École. Actually Henri was dreaming of something else altogether. From years back, at home and at school, he would fill with sketches the margins of his notebooks and books. His fellow students and his teachers could not fail to notice it. His lines were precise, assured and readily incisive. He would be a good cartoonist or even a caricaturist. During the summer 1894 one of the priests of the Saint-Jean school took him along to Brittany, from where the young man brought back an album full of sketches: comical portraits, market scenes, landscapes. He even made an 30x40cm oil painting of a beach. It is not his first: the previous year he had painted Paysage de rochers. In short, he had the vocation of an artist and spoke of preparing himself for the École des Beaux-Arts. Rousseau Pasha, his father, went to consult the artist he knews, Jean-Léon Gérôme, famous as a historical painter and an orientalist. Years earlier he had him as a guest, in Egypt, and had accompanied him to Mount Sinai. The Master was now seventy years old ruled his studio with an iron hand. Rousseau showed him the drawings and the two paintings of his son. Accepted. In October 1894 Henri entered Gérôme's studio, initially to prepare the entrance examination of the Beaux-Arts, then, the following year, as a student of that school. After the discipline of the Eudists, Henri found himself under the authority of a aging Master, paragon of academism, intransigent about the apprenticeship of techniques and picky about the exactitude of the details of a painting. All this under the severe eye of a father somewhat embittered by a premature retirement, terribly fastidious, but still passionate about the Arab world. Around Henri there isn't much fantasy. In the ample home that Rousseau Pasha got build in Versailles his children prepare themselves for the most traditional of careers. Among the sisters of Henri, Louise will marry an officer, Marguerite a doctor at Versailles, Marie the future general Petit. Among the brothers, George aims at the Saint-Cyr military school and Leon at a commerce school. A detail which characterizes this middle-class family: among the six sons and sons-in-law of Rousseau Pasha, four will receive, as he did, the Légion d'Honneur! Between 1894 and 1900 Henri, still living with his parents, did his military service and, brilliantly, his five years of training at the Beaux-Art. He earned there a half-dozen medals, mentions, and prizes. In 1899, he presented at the Salon an edifying painting: Le Christ guérissant les aveugles, which got an Honorable Mention. In the same period the parish priest of Saint-Jean de Montmartre, place des Abbesses, had him make several religious paintings and frescos to decorate the church, whose architect was subject to orientalist influences. In 1900, Henri obtained the "Premier second grand prix de Rome" for a moralizing painting, which the State bought for 1200 francs: Spartiate montrant à ses fils un ilote ivre pour les écarter de l'ivrognerie. That same year he again exposed at the Salon a pious painting: La Prière. This work, depicting Capuchins saying the Our Father, was bought for 1500 francs by the State for the museum of Amiens. It got Henri both a medal and a 4000 francs travel scholarship. The wise, the conformist, the very Christian Henri Rousseau is not only comforted by these honors, he is also pleased by the sums which accompany them. They enable him, at age 25, to manage without help from his father. In that year 1900, Paris had its World Fair. Impressionism was already a quarter of a century old. Some of its Masters like Manet [23 Jan 1832 – 30 Apr 1883] and Sisley [30 Oct 1839 – 29 Jan 1899] were gone, others were aging. Renoir [25 Feb 1841 – 03 Dec 1919] and Monet [14 Nov 1840 – 05 Dec 1926] were in their 60s, Pissarro [10 July 1830 – 13 Nov 1903] was 70. Neo-impressionism = Pointillism came in with Seurat (dead nine years by now) and Signac. Cézanne [19 Jan 1839 – 22 Oct 1906], always in the avant-garde but always ignored by the establishment, was 61 and Gauguin, in his 50s, was in Tahiti. As for Henri, his scholarship money enables him to engage in a sort of initiation tourism. Together with a friend from the studio he is off to Flanders where he visits Ypres, Bruges, Ghent, Antwerp. From there he goes to Holland: Dordrecht, Amsterdam, the Zuiderzee, the Hague. He comes back via Brussels, Leuwen, Malines, and again Bruges. He spends hours in museums contemplating the masterpieces of the great forerunners. In his letters he writes with enthusiasm about Memling, Van Eyck, Rubens, Frans Hals, Ruysdael, Jan Steen [1626 – 03 Feb 1679], Rembrandt. But he also idles and he works (a dozen studies and portraits). Three months during which his invisible guide is none other than Eugène Fromentin [24 Oct 1820 – 27 Aug 1876] who, 25 years earlier, had made this same tour and had reported on it in Les Maîtres d'autrefois. This painter-writer, whom he has never met but of whom he thoroughly knows the writings and the paintings, will remain his true teacher until the end. He admires him, quotes him, paraphrases him and even, on occasion, plagiarizes him to enrich his lectures. It is with the recollection of Un été dans le Sahara and Une année dans le Sahel that Henri continues his voyage, in January 1901. He travels down the Rhone valley, which he rediscovers through the train window, passes through Marseille and, scorning Italy where he would have many artistic and family reasons to go, sails for Tunisia. True, his grandfather had been a French Consul at Sfax, his father was born there, and one of his aunts made it her home. He finds it so seductive that he stays there for five months, traveling across the country every which way, by train, by horse carriage, on horseback, and on a mule, despite the heat, the sirocco, and the dust. Dazzled by the souks, the patios, the olive groves, the Bedouin girls, the shepherds, and the horsemen in the vast open spaces, he makes quick oil paintings on small wood panels which will serve him later, in Paris, for a half-dozen canvases. Right there, he exhibits at the Tunis Salon Cavalier arabe and Femme arabe, which earn him a silver medal and the Order of the Nichan Iftikar Untiring, Rousseau crosses into Algeria where, in spite of the hellish heat, he visits Bone, Philippeville, Constantine, Sétif, Algiers, and Oran. From this port a ship takes him to Carthagena, in Spain, where during another month he travel across Murcia, Granada, Sevilla, Córdoba, Madrid, Toledo, Avila, and Burgos. But his dream had vanished when he left North Africa. He is disappointed by Spain, Goya, and the bullfights, though he is enthused by Vélasquez, Zurbarán, and Murillo, as well as by the Italians of the Prado: Titian, Tintoretto, Raphael, and Veronese [1528 – 09 April 1588]. After this formidable ten-month tour he returns to Versailles at the end of July 1901, undoubtedly exhausted but with the head full of images of deserts and oases. A few months later, on 22 April 1902, Henri Rousseau marries Alice Ravanne, one year older than him, the daughter of an honorable lawyer who divides his life between Versailles and Cannes. Henri takes his bride on honeymoon in Italy, but first going through Béarn and Aigues-Mortes. Then he settles her in Versailles. In less than ten years seven children are born: Marie-Thérèse in 1903, François in 1904, the twins Pierre and Philippe in 1905, Jacqueline in 1907, Jean in 1910, Monique in 1912. With these kids and their nannies, the holidays are spent in Brittany, or near Saint-Germain-en-Laye at the in-laws', or in Saint-André-de-l'Eure at Pierre Ravanne's, the brother-in-law and friend who manages a large farm there. For subjects, Henri has to be content, in general, with the horizons of Ile-de-France, Picardy, Normandy and, more rarely, Brittany. From 1902 to 1913, Henri Rousseau lived what might be called his Versailles period. He prudently rented a workshop in the Villa des Arts, a picturesque neighborhood now officially listed among the Historical Sites, which had about thirty painters and sculptors, between the avenue de Clichy and the Montmartre cemetery. Cézanne, Signac, Marcoussis, Eugène Carrière had there their studios and the Association des paysagistes français its headquarters. Rousseau comes there daily by train. He brings back from his hikes (he is a long-distance walker) sketches, frequently annotated, then, at leisure, he composes paintings (about 335 according to his catalogue). His first drawings embellished with watercolor or gouache, technique in which he will excel, make their appearance only about 1910. He also makes illustrations (more than 250 during this period) and mural decorations (some 20 for private mansions and the Chatham hotel, near the Opéra). To earn a living he restores Master paintings (some 220). Chardin, Fromentin, Daubigny, Corot, Ziem, Théodore Rousseau, Troyon pass through his hands. During this period nearly two-thirds of his oil paintings and enhanced drawings are inspired by typically “French” characters, scenes, animals or landscapes. They are interior scenes often depicting his own family, peaceful countrysides, big plough oxen, draught horses, dogs, shepherds, flocks of sheep grazing in harvested fields. About 1910 this production becomes dominant. Some critics place it in the first rank of the successors of Constant Troyon [1810-1865 ], a painter who was renowned for his landscapes of Berry, the Limousin, Brittany and the Fontainebleau hills, and especially the cows who had become his favorite subject. In 1911, the gallery owner George Petit, who, three years earlier, had signed a contract with the tenant of the Villa des Arts, organizes an exhibit. Among the 67 works shown, the majority illustrates the aspect "painter of France's North" of Henri Rousseau. He begins to enjoy a certain renown. His pictures, regularly exhibited at the Salon, are noticed. Certain museums (Buenos-Aires, Nantes, Dinan, Saint-Quentin, Luxembourg, Cambrai) acquire them. A group of customers forms among aristocrats and the wealthy. Initially modest, the income of the artist increases regularly and really "takes off" starting in 1908. In Rousseau's correspondence there is never any mention of financial worries. He and his wife received in 1902 a comfortable endowment. The death of Rousseau Pasha, in 1911, opens up an ample inheritance. Consequently, in 1913, the couple starts in Versailles the building of a vast home with a studio. Several parentheses however during this rather conventional Versailles period. As early as 1905, Henri makes a one month escapade in the Aurès, in Algeria. The following year there he is in Venice, then again, briefly, in an excursion to Tlemcen. In 1908, while his wife and her first five children take a vacation in Normandy, he rides for six weeks in the Constantinois. In May 1911, he allows himself ten days in Tunis, and the next year one of his colleagues convinces him to accompany him in the Camargue which he discovers with admiration. Henri Rousseau continues to be a traveling painter. Thanks to these trips his production includes, from 1902 to 1913, a good third of orientalist works and some "Venetian" paintings. August 1914: general mobilization in France as World War I is about to begin. Rousseau leaves in the territorial army (National Guard), because of his age of 40 and his seven children, he is returned to the civil life as in February 1915. No more travel, the art market vanishes, no Salon in 1915, 1916 or 1917, lowered production (-20%), precipitous fall in income (-73%), such are the effects of the war. As an artist, Henri can paint for charity raffles, offer a Pêche Miraculeuse to a Noirmoutier chapel, restore the canvases of the Embrun cathedral, carry out a few private restorations and make illustrations, often patriotic, for reviews and books. The family's life is quite perturbed. After the mobilization it takes refuge for five months in Brittany. During the winter 1916 Alice and four children are at the Bassin d'Arcachon. They all spend the winter of 1917 in Cannes and that of 1918 in Embrun (Hautes-Alpes). The fact is that Marie-Thérèse, the eldest of the children, is sick, diagnosed with tuberculosis. The dry air of Provence suits her better than the fogs of Versailles. Nevertheless she will die of phtysy ten years later, in 1924, at the age of 21, in a nursing home in the Hautes-Alpes. That's the main reason for Henri Rousseau's move to Aix-en-Provence, in September 1919. At the southern exit of the city, near the parade grounds (within two steps of Cézanne Road), he bought a 19-room house surrounded by a garden. He baptized it “le Mas”. The painter built a studio on top of the house. From now on he is at one tramway hour from the port of Marseille, near the Camargue, and within a few quarter-hours on a bike from the villages of Provence. From this date on, there is in his catalogue not one work inspired by the North of France. The health of his eldest daughter but also the attractiveness of the South of France it what motivated him to make this serious decision which cuts him off from his friends and the Paris art market. There is nothing to keep him any more in Versailles: his parents have died, his in-laws spend most of their time in Cannes, his brother George is posted in Morocco, his sisters Louise and Marie live wherever their husbands happen to be garrisoned. Actually Henri has gotten to hate Versailles which he accuses of being a tomb. For more than ten years, at each one of his trips towards Marseille, he had been expressing his enjoyment of the clear air, the beauty of the countryside and of the village women, and all the other delightful subjects for pictures. After his friend the painter Doigneau had acted as his mentor in the Camargue in 1912, Henri went back there alone in 1913 and in 1914. In daily letters to his wife (Henri always has a correspondent-confidant: first his father then his wife) he enthusiastically reported his discoveries. An aristocrat who had left Paris for Arles welcomed him and vaunted the advantages of settling in Provence. Then starts for Henri Rousseau his Provence period, that of his maturity, achievement, and success. It does not extend much beyond thirteen full years (1919-1933), but it is characterized by a certain happiness in living (despite of the grief caused by the death of his eldest daughter), a persistent civic activity, lengthy visits to Algeria and Morocco, an intense production (seventy-five oil paintings and enriched drawings per year) dominated by orientalism, a considerable increase in the income derived from his art. Physically Rousseau is a slender man, in excellent health, solid, rustic, able to walk, or ride a bicycle or horse for many hours. His face is aquiline and austere. He adores the countryside even the most arid, has little appreciation for the mountains which lack a horizon, is hardly moved by the sight of the sea, and distrusts cities. He is always ready to go on a walk, an excursion or a lengthy tour. His close relatives describe him as frank (often to excess), orderly, precise, but nervous. He is modest, rather timid, modest, not very companionable, not communicative in public. Scrupulous, demanding of himself as of others, he sometimes happens to scratch off an almost completed painting because it considers it inadequate. Just as he was it in school, Rousseau is a great worker. The catalogue of his works numbers 1850 items, including 913 oil paintings (53%), 336 enhanced drawings (20%) and 346 miniatures which do not exceed 20x16cm. They started to be in fashion during the Great War and their success will not flag until 1933. There is even an annual Salon des Tout Petits in which Rousseau takes part faithfully and his production is easily disposed of at between 200 and 400 francs apiece. Besides the works that are sold, there are many studies that the artist gives to his hosts, to his friends, as well as to charities. Add to this a multitude of sketches, drafts on paper, and studies on wood panels, of which a part will remain in his studio after its death. Some 800 items. In all the number of works that Henri Rousseau created in his forty year career can be estimated at some 3000. An assiduous reader, who annotates his books and adores the classical music, whistling arias of the Italian repertory, he is also, since way back, an excellent draftsman. He is a fervent, even devout Catholic, who fasts on the prescribed days and involves himself in charitable works. But he is even more faithful to his political choices. Whereas his father was rather a Voltairian, Henri is an unconditional partisan of the protofascist Charles Maurras [20 Apr 1868 – 16 Nov 1952] and hence a militant in the extreme rightist Action Française. Henri Rousseau cultivates four passions: painting, family, religion and politics. In painting he admires the talent of Maurice Denis, Gauguin, and Cézanne although he considers them "incomplete". But his own style remains unwaveringly traditional. In 1920, it has been already thirteen years since Picasso [25 Oct 1881 — 08 Apr 1973] raised a scandal with the Les Demoiselles d'Avignon, founding work of Cubism. By now he has attained notoriety, like his friend and fellow student Braque. It was also a decade ago that Kandinsky, become since a professor in Moscow, painted the first abstract watercolor. Matisse has been considered the leader of Fauvism for the last fifteen years and, in Moscow, they talk about Constructivism. Already Surrealism peeks in and soon Dali will have his turn at scandalizing the critics. A branch of Orientalism itself has its own “young Turks”. Their names are Matisse who worked in Biskra in 1906 while Rousseau did the same at Tlemcen; Klee [18 Dec 1879 – 29 Jun 1940] and Macke [03 Jan 1887 – 26 Sep 1914] who were in Tunis in 1914. Henri Rousseau appears indifferent to all these movements or else shows himself irritated by them. His formation is classical, concerned with form and hostile to noise. However, towards the end of his life, he will tend to neglect line and favor color and even the color smudge. In Aix, a town of academics and artists quite conservative at the time, he rather quickly becomes a local personality and gradually an eminent one. He unwittingly prepared the ground by exhibiting paintings of Camargue at the Salons of 1914 (Coup de vent en Camargue), of 1918 (Inondation en Camargue) and of 1919 (Manade de chevaux). Then, from Paris, comes the official seal of approval: in 1924, Henri Rousseau is made chevalier of the Légion d'Honneur in the Fine Arts category. Consequently the Academy of Aix admitted him and, at the request of the municipality, it becomes for five years a member of the Oversight Commission of the Aix museum and of the art school. In 1926, Marseille invites him to take part in the first Salon of the artists of Provence. In 1930, he finds himself president of the Société des Amis des Arts and member of the jury of two fine arts schools: that of Aix and that of Marseille. In 1932, the Academy of Aix makes him its vice-president. During this period Rousseau paints 125 of the 130 oil paintings and enhanced drawings which the Camargue inspired him: they are 12% of the works listed in his catalogue. Herds and herdsmen have much success. For the hills and villages of Provence it is a different matter. These are not works done in the studio, but quick oil or watercolor sketches done in the field. Rousseau is brilliant in them, but these works, generally small, don't have much of a market. They do not have, at the time, the dream potential that orientalism has. During Rousseau's Provence period, most of his sales were of enhanced drawings and orientalist paintings, hundreds of them, often with repetitive subjects, so much were they appreciated. Almost a century old (the visit of Delacroix to Morocco was back in 1832) Orientalism now threw its most amazing fireworks. Of an immense army of thousands of European artists, Rousseau constitutes the rear-guard. But his authenticity and his talent find an echo in the imperialist exultation which culminates in the colonial expositions: that of Marseille in 1922 and that of Paris, the big one, in 1931. Temperamentally Rousseau is wary of the picturesque and the imaginary. His favorite subjects are the nomadic horsemen of the high plateaus. He paints them on the move, going to market, hunting falcons, or setting out on a war expedition. Barely a few fantasies but plenty of caïds in feastday dress, of donkeys, and of fortified doors. At any rate never any harem, inaccessible to the Westerners and therefore born only of the imagination of those who exploited the phantasm of Eastern erotism. The artist feeds his imagination, and satisfies his taste for solitary travel, by going regularly to North Africa. Curiously Tunisia, which exalted him before the war, does not tempt him any more. True, things are facilitated for him by his brother George, an official of the Bureau of Native Affairs, being in Algeria and then in Morocco. Wherever Henri goes, he has letters of introduction to civil administrators, military authorities, and native leaders. Everyone goes out of his way to house him and to provide an escort when he rides into the countryside. He thanks them with painted or sketched portraits. Thus, shortly after Henri settled in Aix, he took up again the tradition of overseas travel. After having visited Tunisia in 1901, 1902 and 1911, Algeria in 1901, 1905, 1906, and 1908, he sails for Oran in March 1920. In Algeria he visits Tlemcen, then crosses into Morocco, to Oujda and Berkane, where his brother welcomes him. To go from Taza to Fez his car inserts itself into a convoy escorted by armored cars, as the Rif war is raging at its worst. From Fez he goes to Rabat and to Casablanca where he boards ship for the return home. Forty days of adventures richly illustrated by numerous sketches and studies. Four years later, in the fall this time, he makes about the same Moroccan tour, but adding Meknès. Fifty-five days of immersion in the Arab world. He writes: “À la fin d'un voyage on est plus désorienté que jamais. On souhaite le calme d'un atelier pour mettre de l'ordre dans les souvenirs. Je ferme les yeux ...” The result: in 1927, the George Petit gallery organizes an exhibit in Paris and can show 87 works, orientalist for the most part. The very next year Rousseau visits again Morocco and goes for the first time to Marrakech. He brings back enough that he is able to exhibit about thirty paintings, a few months later in Brussels. It repeats the visit in 1930 and 1932 (three months in all) and obtains the authorization to go to work on the mountains of the Middle Atlas amidst the military columns which subdue the last pockets of the Berber uprising. At the peak of his technique the artist gives the best of himself and documents a world which is being deleted. Already crowds of tourists visit Marrakech. Here is what Rousseau entrusts to his notebook: “Je crois que j'ai été attiré en Afrique par la vie simple et sans grands besoins de ces buveurs d'air qui empruntent une part de leur sagesse aux vastes espaces... Une beauté se dégage de ces hommes qui circulent lentement sur des bêtes de somme. Quand ce sont des Arabes, quel port de grand seigneur! Quelle race malgré les haillons! Qu'en restera-t-il dans un avenir utilitaire qui leur interdit même le droit à la transhumance ancestrale?” Rousseau is now so familiar with Morocco that he is asked to portray Lyautey, on horseback, at the head of his staff. He complies... by working from photographs. He plans a new trip during which, so he hopes, he will make a portrait of the Sultan himself. But in March 1933, after Rousseau catches cold, a 'flu that turns into pneumonia takes away in ten days this 55-year-old man who had never been sick. By coincidence, his Provence period had just ended and another, which might have been called his “Toulouse period”, was starting. Two of his sons are priests, another is a farmer in the Camargue, the fourth is a magistrate in Black Africa. As for the two remaining girls, Jacqueline and Monique, they have married men from Toulouse: Ambroise Rendu and Jehan de Chassy. What reason could there be for Henri and Alice to remain at le Mas, now much too vast? Neither is business any longer what it used to be. The George Petit gallery in Paris has gone bankrupt and the southern galleries to which Rousseau has recourse don't manage to give him the same service. This is the Great Depression. The sales of paintings have decreased by half since 1930. Rousseau was moving to Toulouse to be nearer to his grandchildren. He had bought a villa, on rue Montplaisir and, as was his custom, had a studio built. A new life was about to begin, under another sky, with different occupations and perhaps other subjects. Henri Rousseau was going to cultivate the art of being a granddad (he already had three grandsons and a granddaughter; Alice would later have a total of twenty-four grandchildren) and probably return to portraiture, in which he excelled. Death shattered those prospects. The Toulouse villa would receive the multitude of unfinished drawings, sketches, studies, and paintings (some one thousand various works). And also the rest, half squeezed-out tubes, odorous varnishes, Eastern objects, in short the very poignant souvenirs of the painter at work. All that remains at Aix-en-Provence is his tomb. With the friends and the memories of a “belle époque”... — Porte au Maroc (Fez) (1920, 55x46cm) — Portrait d'un homme accroupi (après 1919, 45x33cm) — Cavalier devant une fontaine de Marrakech (1933, 56x44cm). — Fontaine de Marrakech (1933?, 47x39cm) sans cavalier. — Le rendez-vous (1926, 59x90cm) de cavaliers arabes. — Cavaliers et Hommes Arabes (91x71cm) — Course en Camargue (1929, 19x25cm) — Paysage désertique (24x33cm) — Sous les murs de Rabat au crépuscule (1933, 49x64cm) — Deux cavaliers africains en burnous bleu (1928, 37x48cm) — La chasse au faucon (1933, 43x55cm) — À l'abreuvoir (1926, 47x62cm) — Cavalier de fantasia à la casaque verte (1919, 22x16cm) — Fantasia marocaine (1933, 64x91 cm) — Trois cavaliers avec étendards (1921, 26x23cm) — Caïd El Ayadi (1928, 38x31cm) — Sliman Tunis (63x53cm) — Cavaliers devant une porte de Meknès (1925, 31x46cm) — Fauconnier arabe (après 1919, 55x46 cm) — Meknès – Bab et Khmis (1926, 20x30cm) — The Hawking Party (x799pix, 81kb) —(061216) |
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