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Paul César HelleuOriginal Drawing "Jeune Femme Assise" by Paul Cesar Helleu, c. 19101910
1910
About the Item
HELLEU, PAUL CÉSAR
(1859 -1927)
"JEUNE FEMME ASSISE"
(Young Woman Seated)
Original Drawing in sanguine, white and black chalks, c. 1910
Signed in pencil by artist, lower right
Full Margins on cream wove paperImage size: 17.5” x 11.02”
Paul César Helleu was born in Vannes, France in 1859. As a young boy he immediately took a passionate interest in art. His father died when Paul César was still young and his mother was not keen on her son following the unstable profession of an artist. Helleu was however, a determined young man and by the age of seventeen he had moved to Paris to study at the Ecole des Beaux Arts. Helleu rejected the classical academic approach to painting that he was taught at art school and instead embraced Impressionism. Helleu formed close friendships with Degas, Rodin, Renoir and particularly Monet who became a close friend and companion. Helleu’s closest friend was John Singer Sargent and it was he who inspired Helleu to become a portraitist. In 1884, Helleu was invited by Monsieur and Madame Guérin to execute a portrait of their fourteen year old daughter Alice -Helleu immediately fell madly in love with her. In 1886 they were married, Alice being only sixteen years old. During the early 1890s, Helleu and his young wife were popular figures in the aristocratic circles frequented by the élite of European society. Helleu forged friendships with many of the greatest authors of the time. Marcel Proust held Helleu in high regard and used him as a model for the artist Elistir in his epic work, A la recherche du temps perdu. Helleu adored the company of beautiful women and was introduced to many elegant, fashionable women who became principle sitters for his portraits. Helleu’s wife Alice was undoubtedly his favorite model, she was charming, refined and graceful and his portraits of her are drawn with intimate sensitivity.
- Creator:Paul César Helleu (1859-1927, French)
- Creation Year:1910
- Dimensions:Height: 32.25 in (81.92 cm)Width: 25.5 in (64.77 cm)Depth: 3 in (7.62 cm)
- More Editions & Sizes:One of a kindPrice: $35,000
- Medium:
- Movement & Style:
- Period:
- Condition:This piece is in a custom frame with UV protective plexiglass.
- Gallery Location:Hinsdale, IL
- Reference Number:
Paul César Helleu
Rich impression with dramatic drypoint burr and tone no other artist epitomizes the whole atmosphere of elegance and hedonistic pleasure which pervaded Paris society at the first decade of the century as does Helleu. A close friend of Proust and the inspiration for one of the principal characters in La Recherche du Temps Perdu, Helleu’s whole life style echoed the incomparable elegance and flow of his drawing, the sheer style of his art, and his eye for the poses of the beautiful women who were his friends and his patrons. During the 1870’s, Helleu had come to know the painters of Impressionism and also artists Sargent and Whistler who became his special friends and inspiration. By the early 1880’s, he had already developed the quality of expressive sweeping line, which is the essence of his drawing, but in 1885 he was encouraged by Tissot to try working on prints in drypoint. At this time, Tissot had decided, after the death of his lover and model Kathleen Newton, to travel to the Holy Land on an artistic pilgrimage. Having decided he would no longer engrave, he gave Helleu his diamond stylus…a literal and figurative “passing of the baton”. It was in the incision and texture of drypoint that his art was to reach one of its greatest peaks. He had an innate feel for the balance between a lightly curving stroke and the deeply cut highly tonal burr of the strongest drypoint. Around the turn of the century he started to combine drypoint with multi-inking in colors, the areas of color restricted to such touches as the bows on the hats, the hair color or the red of the lips. The plate was drawn at a single sitting, and then the color inks were brushed onto it. The results are some of the most splendid and decorative of all Belle Époque prints.
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