Autour du Chat Noir
dal 12/9/2012 al 12/1/2013
Segnalato da
Paul Delmet
Albert Trinchant
Erik Satie
Claude Debussy
Gustave Charpentier
Henri Toulouse-Lautrec
Edouard Vuillard
Theophile-Alexandre Steinlen
Adolphe Willette
Henri Riviere
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.
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