Musee de Montmartre
Paris
12, rue Cortot
01 49258939
WEB
Autour du Chat Noir
dal 12/9/2012 al 12/1/2013
everyday from 10h to 18h

Segnalato da

Heymann Renoult Associees



 
calendario eventi  :: 




12/9/2012

Autour du Chat Noir

Musee de Montmartre, Paris

The show recreates the literary, artistic and musical atmosphere of the Chat Noir and of 'fin de siecle' Montmartre with 200 works by artists such as Henri de Toulouse-Lautrec, Edouard Vuillard, Theophile-Alexandre Steinlen, Adolphe Willette, Henri Riviere, the Incoherents, the Nabis, Symbolists and humorists. In addition, the exhibition includes a reconstitution of the cabaret's famous shadow theater accompanied by period music.


comunicato stampa

curated by Phillip Dennis Cate

« The Chat Noir is the most extraordinary cabaret in the world. One rubs shoulders with the most important men in Paris, who meet with foreigners from all four corners of the globe... It’s the biggest success of the century ! Come on in !! Come on in !! »
Rodolphe Salis

The Musée de Montmartre presents, from September 13 to January 13, 2013, an unique exhibition about one of the most mythical places in Montmartre, the Chat Noir cabaret. The Chat Noir, founded in 1881 by Rodolphe Salis in Montmartre, is the first avant-­‐garde literary, artistic and musical cabaret in Paris.
The Chat Noir was a place of innovation and improvisation where every night was different from the previous one. The evenings were filled with songs and stories, and after 1886 the shadow theater became the principal attraction. Pianists and composers such as Paul Delmet, Albert Trinchant, Erik Satie, Claude Debussy and Gustave Charpentier played and or composed their music at the Chat Noir .
The current exhibition recreates the literary, artistic and musical atmosphere of the Chat Noir and of fin-­‐de-­‐siècle Montmartre with more than 200 works by numerous artists, known and little-­‐known, such as Henri de Toulouse-­‐Lautrec, Edouard Vuillard, Théophile-­‐Alexandre Steinlen, Adolphe Willette, Henri Rivière, the Incoherents, the Nabis, Symbolists and humorists. In addition, the exhibition includes a reconstitution of the cabaret's famous shadow theater accompanied by period music. From the Cirque Fernando to the Moulin Rouge, Bohemia Montmartre is presented throughout the exhibition.
Irony, satire and humor! These words are the soul of the exhibition. This first project marks the revival of the Musée de Monmartre under the guidance of the Kléber Rossillon Society, whose desire is to join the network of Parisian museums.

The Chat Noir
While the end of the 19th century is often referred to as the “fin-­‐de-­‐siècle” because of its philosophy of decadence, the first decade of the 20th century is referred to as “The Belle Epoque” because of a sense of optimism and self-­‐confidence.
It was the imagination and organizational skills of the poet Émile Goudeau who, with the establishment of the group of writers and artists called the Hydropathes, transformed this kind of casual get-­‐together into a grander scale [...]
When the Hydropathes, under the leadership of Goudeau, migrated up to Monmartre at the end of 1881 and found their home in Rodolphe Salis’ newly opened Chat Noir cabaret, Montmartre began to evolve as the primary theater of modernist activity in Paris at the expense of the Latin Quarter [...]
Billed as “a Louis-­‐XIII style cabaret, founded by a fumiste,” the first Chat Noir opened in November 1881 and was located at 84, boulevard Rochechouart, in an old post office. [...]
The cabaret was quite small. Its two narrow rooms, one behind the other, together barely held thirty people. At the beginning, the dimly lit, uninspiring rear room attracted few customers. Salis solved this problem by creating a fumiste parody on the French academy’s home on the Left Bank by naming the dingy back space the Institut, which from then on was reserved solely for the privileged artistic, literary, and musical habitués of the Chat Noir.
With Salis’ entrepreneurial direction and the fresh talent of writers, artists and performers, the Chat Noir and its journal became popular and financial successes. By June 1885 Salis was able to move his operation into a three-­‐floor hôtellerie elaborately furnished on the rue Victor Massé [old rue Laval] and just a few blocks from the old Chat Noir that the singer Aristide Bruant took over and renamed the Mirliton. At the entrance of the second Chat Noir, a yellow and black sign welcomed potential patrons with the admonition “to be modern.”

Exhibition Summary
ROOM 1 : INTRODUCTION : ORIGIN OF THE TITLE « LE CHAT NOIR » AND OF CHATNOIRESQUE HUMOR
Along with an introductory text, this first room presents prints and drawings which suggest sources for the name of the cabaret. This first room espouses the atmosphere of satire and humor which became the landmark of the Chat Noir. An impressive portrait by Antonio de la Gandara introduces Rodolphe Salis as founder/“king” of the Chat Noir.
Some works presented in this room:
• Édouard MANET (1832-­‐1883), Pulcinella, 1874, color lithograph, 57 x 32.7 cm, private collection, France
• Émile DURANDEAU (1830-­‐1889), Jules Champfleury as Puppeteer, 1876, watercolor, 52.5 x 30.2 cm, private collection, France
• Jules CHERET, (1836-­‐1933), L’Horloge, Cats’ Duet, 1876, color lithograph, 58 x 40 cm, private collection, France
• Antonio de LA GANDARA (1861-­‐1917), Portrait of Rodolphe Salis, 1884, oil on canvas, 120 x 80 cm, private collection
• Charles LEANDRE (1862-­‐1930), Caricature of Émile Goudeau, 1896, pencil, 40 x 32 cm, private collection

ROOM 2 : THE FIRST CHAT NOIR
This second room contains photographs of the first cabaret, of Salis and his associates as well as the works they had painted there. On display are examples of books and of music influenced by the Chat Noir as well as issues of the Chat Noir journal which Salis began to publish in 1882 and which was illustrated by Chat Noir artists such as Willette, Steinlen, Rivière...The close connection between and the shared absurd humor of the artist/writer participants at the Chat Noir and the anti-­‐establishment group called the Incohérents is revealed with examples of their invitations, catalogues, and book illustrations.
Some works presented in this room:
• ANONYMOUS, Exterior view of the First Chat Noir Cabaret [bld de Rochechouart], 1882, photograph, 23,5 x 35,5 cm, Musée de Montmartre collection
• ANONYMOUS, The First Chat Noir and its habitués, 1882, photograph, 15,2 x 22,7 cm, Musée de Montmartre collection
• Adolphe WILLETTE (1857-­‐1926), Parce Domine, parce populo tuo, 1882, oil on canvas, 200 x 390 cm, deposit of the Musée Carnavalet, Museum of the City of Paris, Musée de Montmartre
• Théophile-­‐Alexandre STEINLEN (1859-­‐1923), The Ballad of the Chat Noir, Le Chat Noir, August 9, 1884, photo-­‐relief, 45 x 32 cm, private collection
• Eugène BATAILLE [Sapeck] (1853-­‐1891), Mona Lisa with a pipe, Le Rire, by Coquelin cadet, 1887, photo-­‐relief, 18.5 x 12 cm, private collection, France
• G. VAN DRIN, The Venus de Mille-­‐Eaux, illustration for the illustrated Arts Incohérents exhibition catalog, 1889, photo-­‐relief, 27.5 x 18.4 cm, private collection
• Jules CHÉRET, (1836-­‐1933), The Universal Exhibition of Arts Incohérents, 1889, color lithograph, 58,7 x 40,2 cm, private collection
• Emile COHL (1857-­‐1938), Cover of the Arts Incohérents exhibition catalog, 1893, pencil, 30 x 23,6 cm, private collection

ROOM 3 : MONTMARTRE BEFORE THE CHAT NOIR : THE COMMUNE Room of the permanent collection of the Musée de Montmartre about the Commune.

ROOM 4 : THE SECOND CHAT NOIR [12 RUE VICTOR MASSÉ], THE SHADOW THEATER AND MUSIC

Under the direction of Salis and with the help of the talent of artists and writers, The Chat Noir, and the Chat Noir Journal, proved to be great commercial successes. Salis was able to move his cabaret in June 1885 to rue Laval (rue Victor Massé today). This room presents images of the new Chat Noir and the cabaret’s shadow theatre. The Chat Noir did much for the artistic community in Paris but its most important, and most famous, contribution was without a doubt The Chat Noir's important shadow theatre plays, created in 1886 by Henri Rivière and Henry Somm. This sophisticated spectacle became the perfect representation of the credo of the Chat Noir, to be “modern” above all else. The artistic influence of the shadow theatre would play a significant role on “avant-­‐garde” art.
Some works presented in this room:
• Théophile-­‐Alexandre STEINLEN (1859-­‐1923), The Tour of the Chat Noir, 1896, color lithograph, 135.9 x 95.9 cm, Musée Carnavalet, history of Paris
• Henri RIVIÈRE (1864-­‐1951), thirteen sets for the shadow play Elsewhere !, 1891, wood and zinc, Musée de Montmartre collection
• Henri de TOULOUSE-­‐LAUTREC (1864-­‐1901), Sheet music for Carnot malade, 1893, stencil-­‐ colored lithograph, 27,6 x 17,6 cm, private collection
• Victor Ph. FLIPSEN (1841-­‐1907), Portrait of Paul Delmet, c.1890, oil on panel, 64 x 54 cm, collection musée de Montmartre
• Henri de TOULOUSE-­‐LAUTREC (1864-­‐1901), The Ball at the Moulin Rouge – La Goulue, 1891, lithograph, 191 x 120 cm, private collection, Courtesy, Galerie Documents Paris.

ROOM 5 : ARISTIDE BRUANT, THE MIRLITON [CAFÉ AND NEWSLETTER] AND CAFÉS
In 1885 the singer Aristide Bruant established his cabaret, Le Mirliton, at 84 Boulevard Rochechouart, the home of the first Chat Noir. In the tradition of the Chat Noir, Bruant also created his own journal, le Mirliton, in which he published his songs and illustrated by Toulouse-­‐Lautrec and Steinlen. This room presents not only Bruant and his cabaret with posters and drawings, but also the theme of Montmartre/Parisian cafes which was an important subject for fin-­‐de-­‐siècle, avant-­‐garde artists.
Some works presented in this room:
• Henri de TOULOUSE-­‐LAUTREC (1864-­‐1901), Aristide Bruant in His Cabaret, 1893, lithograph [proof before letters], 152,5 x 115,5 cm, Musée de Montmartre collection
• Théophile-­‐Alexandre STEINLEN (1859-­‐1923), Aristide Bruant at the cafe Le Mirliton, c.1895, pencil, 23 x 23 cm, private collection
• Théophile-­‐Alexandre STEINLEN (1859-­‐1923), Illustration for the cover of the journal Le Mirliton, June 9, 1893, with the song The Four Footed by Aristide Bruant, 1893, photo-­‐relief colored with stencil, 37,5 x 27 cm, private collection
• Louis LEGRAND (1863-­‐1951), The Private Bar, c. 1905, watercolor, 35 x 23.5 cm, private collection
• Georges BOTTINI (1874-­‐1907), At the bar : The Woman in White, 1904, watercolor, 37 x 27 cm, private collection

ROOM 6 : THE INFLUENCE OF THE SHADOW THEATER ON SYMBOLIST ART AND THEATER, AND THE NABIS
In order to demonstrate the importance of Montmartre for avant-­‐garde theatre, this room presents works by Nabi artists such as Vuillard and Bonnard who created for the two important Montmartre theatres -­‐ the Théâtre libre (free theater) and théâtre de l'Oeuvre. Here the focus is the thematic and stylistic links between the Chat Noir shadow theater and symbolist painting presented by the works of numerous artists. This room also contains the permanent display dedicated to the composer Gustave Chapentier, famous for his Montmartre-­‐based play Louise.
Some works presented in this room:
• Henri-­‐Gabriel IBELS (1867-­‐1936), Program for the Théâtre libre – performance of Fossils, 1892, color lithograph, 22.9 x 28 cm, private collection
• Henri de TOULOUSE-­‐LAUTREC (1864-­‐1901), Program for the Théâtre libre -­‐ performance of A Failure, 1893, lithograph, 31.3 x 23.6 cm, private collection
• Edouard VUILLARD (1868-­‐1940), The Actor Coquelin cadet, c. 1892, ink, 32 x 24 cm, private collection
• Paul SÉRUSIER (1863-­‐1927), Costume designs for the Théâtre de l’Oeuvre, c. 1894, watercolor and graphite, 19 x 17 cm each, private collection
• Pierre BONNARD (1867-­‐1947), Cover for Snowy Landscape, from the series Le Répertoire des Pantins, 1898, lithograph, 35.3 x 26.8 cm, private collection
• Alfred JARRY (1873-­‐1907), Cover for the Ouverture d’Ubu Roi, from the series Le Répertoire des Pantins, 1898, lithograph, 35.1 x 27 cm, private collection
Georges de FEURE (1868-­‐1928), The Gardens of Armida, 1897, watercolor, 44.4 x • 35cm, private collection
• Charles MAURIN (1856-­‐1914), Virtue, c. 1892, oil on canvas, 81 x 64.5 cm, private collection
• Charles ANGRAND (1854-­‐1926), Henri, c. 1898, pencil on canvas, 44 x 57,5 cm, private collection
• Charles GUILLOUX (1866-­‐1946), The Watercourse, 1895, oil on canvas, 45 x 59.5 cm, private collection
• Alphonse OSBERT (1857-­‐1939), Landscape, c.1900, oil on panel, 41 x 26 cm, private collection

SALLE 7 : THE CIRCUS
This room is dedicated to the themes of the Circus and fêtes foraines as found at the Cirque Fernando in Montmartre and in street performances. Paintings of clowns such as Footit and Chocolat indicate the fascination that artists had with popular entertainment as well as with the depiction of marginal members of society. Prints, drawings and posters reveal the important interrelationship of artists and writers in treating the theme of the circus in their work.
Some works presented in this room:
• Joseph FAVEROT (1862-­‐), Two Clowns, c.1885, Oil on panel, 41 x 31 cm, private collection
• Henri-­‐Gabriel IBELS (1867-­‐1936), At the Circus, 1893, lithograph, 58. 4 x 41.4 cm, private collection
• Richard RANFT (1862-­‐1931), Costume, Ball and Clown, 1892, pastel, 50 x 25 cm, private collection
• Henri-­‐Gabriel IBELS (1867-­‐1936), Footit and Chocolat, c. 1895, oil on panel, 35 x 26.7 cm, Musée de Montmartre collection
• Henri-­‐Gabriel IBELS (1867-­‐1936), Fan with A Circus Scene, c. 1895, gouache, 33 x 60 cm, private collection
• Jules CHERET (1836-­‐1933), Cover for Entrée de Clowns, 1886, color lithograph, 18 x11 cm, private collection, France

ROOM 8 : THE CAFÉ-­‐CONCERTS AND THEIR PERFORMERS ; IMPORTANT SUBJECTS FOR FIN-­‐DE-­‐ SIÈCLE ARTISTS
Prints, posters, paintings and drawings depicting popular entertainers such as Yvette Guilbert, Loïe Fuller, and La Belle Otero are accompanied by typical café-­‐concert music. In addition a series of images of ballerinas on stage or behind the scenes represent the fascination that artists had for all forms of stage performances.
Presented works:
• Henri de TOULOUSE-­‐LAUTREC (1864-­‐1901), The Divan Japonais, 1892, lithograph, 122 x 103 cm, Musée de Montmartre collection
• Henri-­‐Gabriel IBELS (1867-­‐1936), Cover for The Café-­‐Concert, 1893, lithograph, 43 x 32.5 cm, private collection
• Jules CHERET (1836-­‐1933), Les Folies Bergères –The Loïe Fuller, 1893, lithograph, 134 x 96 cm, Musée de Montmartre collection
• Henry de GROUX (1866-­‐1930), Loïe Fuller, c. 1892-­‐95, pastel, 62,5 x 48,5 cm, private collection
• Erwin PUCHINGER (1876-­‐1944), La Belle Otero, c. 1901, pastel and gouache, 52.5 x 21.5 cm, private collection
• Guillaume DUBUFE (1853-­‐1909), Eugénie Buffet on stage, c. 1895, watercolor and gouache, 24.9 x 31.5 cm, private collection
• Louis ABEL-­‐TRUCHET (1857-­‐1918), The Café-­‐concert, c. 1895, oil on canvas, 54.6 x 64.8 cm, private collection

ROOM 9 : THE MOULIN ROUGE AND THE « DANCE HALLS »
This room presents can-­‐can performers such as La Goulue who attracted both artists and the mass public to dance halls in Montmartre as epitomized by the Moulin Rouge. The reputation of Montmartre as the center of bohemia and of Parisian entertainment was well established by 1900. The presented works confirm Rodolphe Salis' prescient prediction eighteen years earlier that everyone would eventually come to Montmartre and that Montmartre would become “everything.”
Some works presented in this room:
Jules CHÉRET (1836-­‐1933), The Ball at the Moulin Rouge, 1889, lithograph, 136 x 100 cm, Musée de Montmartre collection
Louis LEGRAND (1863-­‐1951), Study for the cover of Fin-­‐de-­‐siècle Dancing Course, 1892, watercolor, 33 x 23 cm, private collection
ANONYMOUS, Dancer at the Moulin Rouge – Louise Weber known as La Goulue, undated, photograph, 16,3 x 10,9 cm, Musée de Montmartre collection
Ferdinand BAC (1859-­‐1952), Toulouse-­‐Lautrec in front of the Moulin Rouge, 1890, pencil, 27.5 x 20.5 cm, private collection
Juan Gris (1887-­‐1927), In front of the Moulin Rouge, c. 1908, ink, 43 x 37 cm, private collection
Edouard DEVERIN (1881 – 1946), The Bal Tabarin, c. 1905, gouache, pencil, and ink, 22 x 27.3 cm, private collection

Press Relations : Heymann, Renoult Associées
Agnès RENOULT and Marianne COPIN-­‐ANGELIN
+ 33 (0)1 44 61 76 76 / m.copin@heymann-renoult.com

Opening 13 september

Musée de Montmartre
12, rue Cortot, Paris
Open everyday from 10h to 18h
Night hours during the exhibition: the first Thursday of the month from 18h to 21h Admission free

IN ARCHIVIO [2]
Impressions a Montmartre
dal 13/9/2013 al 11/1/2014

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