Jeanne JACQUEMIN (1863-1938) - Lot 78

Lot n° 78
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Result : 33 488EUR
Jeanne JACQUEMIN (1863-1938) - Lot 78
Jeanne JACQUEMIN (1863-1938) Portrait of a woman in front of a trellis - supposed allegory of the lie. Pastel, signed lower right. Height: 26 cm. 26 cm ; Width : 21 cm Inscribed on the back of the cardboard: J.J. / Lie. Jeanne Jacquemin was a rare artist whose body of work is only about a dozen numbers. During her lifetime, she was an important figure in the artistic and cultural world, close to Mallarmé, Samain, Huysmans, Redon and the symbolist circles. Born Marie-Jeanne Boyer, this artist with an unusual life married a draughtsman of batrachians from the Museum of Natural History, Edouard Jacquemin. She was quickly admired by a circle that included the sculptor Alexandre Charpentier, the Belgian critic Octave Maus and the poet Georges Rodenbach, who wrote of Jeanne: "she who also loves the eyes and knew how to paint the infinite in them. Supported by fervent friends (Jean Lorrain entrusted her with the illustration of La Mandragore), Jeanne Jacquemin presented her works from 1892 to 1897 in a few key places, including the Le Barc de Boutteville gallery, at Impressionist and Symbolist exhibitions, at the Salon de La Plume and at the Siegfried Bing gallery. Sensitive to the strangeness of his pastels (heads, inspired by his own face, accompanied by evocative titles), the critics gave him a favourable and admiring reception. In the Mercure de France, Remy de Gourmont described the work of this "exile of the Rose+Croix" in these terms: "an exquisite putrefaction that goes so far as to become sumptuous, a charming immorality that cares very little about specifying the sexes and that lets the doubt of androgyny float like a mist of unhealthy and adorable desires around heads that are infinitely weary of living. Jeanne Jacquemin's works evoke the paintings of the Pre-Raphaelite painters Edward Burne-Jones and Dante-Gabriele Rossetti, who were used to female faces with oblong chins, red hair and equivocal attitudes against a background of trellises à la William Morris. The androgynous face in our pastel, most likely Jeanne Jacquemin herself as an allegory of lies (as the words on the back of the cardboard suggest), bears strong similarities to other well-known works by the artist: The Heart of Water, 1892 (Maison Tournaisienne Musée de Folklore) and his Saint Georges, c. 1893 (former Olivier Saincère collection). We thank Mr. Jean-David Jumeau-Lafond for having confirmed the attribution of this work. Bibliography ; Jean-David JUMEAU-LAFOND, Les Peintres de l'âme, le Symbolisme idéaliste en France, Snoeck-Ducaju & Zoon, Gand ; Pandora, Anvers ; Paris Musées, 1999. Catalogue of the exhibition at the Musée d'Ixelles (Brussels), 1999, and at the Pavillon des Arts in Paris, 2000, p.79-80. Jean-David JUMEAU-LAFOND, " Jeanne Jacquemin, peintre et égérie symboliste ", Revue de l'art, 2003-3, p.57-78.
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