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Paul César HelleuPortrait of Whistler with the Monacle.1897
1897
About the Item
Portrait of Whistler with the Monacle. 1897. Drypoint. 13 3/4 x 10 1/4 (sheet 16 3/4 x 11 5/8). A carefully wiped impression with plate tone, from the cancelled plate (there were only 28 impressions before the plate was cancelled), printed on cream laid paper. A delightful portrait of Helleu's colleague and friend, Whistler.
Housed in a 24 x 20-inch archival mat suitable for framing.
Helleu had a classical education in the Ecole des Beaux-Arts from 1870 under Jean-Léon Gérôme. However, in his maturity he began to paint en plein-air in an Impressionist style and Degas invited him to exhibit at the Impressionist exhibition of 1886. In this year James Tissot, appointed Helleu his artistic successor, giving him the diamond he had used for his drypoints. Helleu made a considerable reputation producing portraits of fashionable figures in this medium. His works in both drypoint and oil show the influence of Japanese prints in their unusual angles and perspectives.
- Creator:Paul César Helleu (1859-1927, French)
- Creation Year:1897
- Dimensions:Height: 42 in (106.68 cm)Width: 20 in (50.8 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Storrs, CT
- Reference Number:1stDibs: LU33521079453
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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