Maurice Denis - Knowledge (XXG)

799: 1159: 252: 1285: 466: 508: 1238:, under the subtitle: "From Symbolism and Gauguin towards a new classical order". The book was widely read, with three more editions published before 1920. It included his 1906 essay "The Sun", in which he described the decline of impressionism: "The common error of us all was to search above all for the light. It would have been better first to search for the Kingdom of God and his justice, that is to say for the expression of our spirit in beauty, and the rest would have arrived naturally." It also included his idea that "Art is the sanctification of the nature, of that nature found in everyone who is content to live." And it described his theory of creation that found the source for art in the character of the painter: "That which creates a work of art is the power and the will of the artist." 1273: 240: 496: 2287:

de récupérer les biens spoliés en totalité par les Allemands (meubles, vaisselles, bibliothèques et œuvres d'art), mais la grande majorité des tableaux resta introuvable. Les deux œuvres qui sont restituées aujourd'hui avaient été envoyées à l'Oberhausmuseum de Passau, où elles furent regroupées dans un fonds provenant d'œuvres spoliées. Ce n'est qu'en 2019 que les avocats français de la famille Monteux, Maîtres Patrick Klugman et Ivan Terel, sur la base des travaux du Dr. Emmanuelle Polack et avec l'assistance des généalogistes du cabinet français ADD associés, découvrirent le tableau de Camille Bombois dans la base de données allemande Lostart.de, qui répertorie les œuvres spoliées durant la Seconde Guerre mondiale.

948: 1316: 966: 282: 1067: 700: 724: 1404:, showing the history of the church militant and the history of the church triumphant from the 2nd to the 20th century. To ensure unity in the decorations the architect imposed a standard height for all the people depicted, and red as the color of all the backgrounds. The central theme of the paintings is "the history of the church militant and the history of the church triumphant from the 2nd to the 20th century. Denis painted two of the major works, the Altarpiece and another large work beside it. The church murals that he painted were strongly influenced by the Renaissance art he had seen in churches in Italy, particularly the work of 1051: 811: 712: 481: 385: 1140: 1300: 1000: 985: 1580: 826: 38: 267: 681: 740: 906:, and Denis's wife Marthe). The painting appears very somber because they are all dressed in black for mourning, but it also has a second message; the paintings displayed behind the figures and on the easel represent the transition of modern art, from works by Gauguin and Renoir on the back wall to the painting by Cézanne on the easel, which illustrated, from Denis's point of view, the transition from impressionism and symbolism toward neo-classicism. 1525:"Art remains a sure refuge, the hope of a reason for our life here, and this consoling thought that a little beauty is also found in our life, and that we are continuing the work of creation....the labor of art has merit; to inscribe the marvelous beauty of flowers, of the light, of the proportion of trees and the form of waves, and the perfection of face, to inscribe our poor and lamentable life of suffering, of hope and of thought." ( 2423: 446:. However, as Denis explained, he did not mean that form of the painting was more important than the subject. He went on to write: "The profoundness of our emotions comes from the sufficiency of these lines and these colors to explain themselves...everything is contained in the beauty of the work." In his essay, he termed this new movement "neo-traditionalism", in opposition to the "progressism" of the neo-impressionists, led by 522:

of a reason in life from now on, and the consoling thought that little beauty manifests itself in our lives, and that we are continuing the work of Creation....Therefore the work of art has merit, inscribed in the marvelous beauty of flowers, of light, in the proportion of trees and shape of waves, and the perfection of faces; to inscribe our poor and lamentable life of suffering, of hope and of thought."

2510: 2493: 853:, declaring: "the classical aesthetic offers us at the same time a method of thinking and a method of wanting to be, a moral and at the same time a psychology...The classical tradition as a whole, by the logic of the effort and the greatness of results, is in some way parallel with the religious tradition of humanity." In the same year, the two leading figures of symbolism in art, 2527: 868:; he traveled to Cézanne's home in 1896, and wrote an article reporting Cézanne's comment: "I want to make of impressionism something solid and durable, like the art in museums." In the article, Denis described Cézanne as "the Poussin of impressionism" and called him the founder of modern neo-classicism. One of the most important works of Denis from this period is 346:. Recalling it later, Denis wrote, "What amazement, followed by what a revelation! In place of windows opening on nature, like the impressionists, these were surfaces which were solidly decorative, powerfully colorful, bordered with brutal strokes, partitioned." The work of Gauguin had an immediate effect on Denis' work. The brightly colored forms of Gauguin's 2476: 861:, died. On his return to Paris, Denis re-oriented his art toward neo-classicism, with clearer lines and figures. He noted in his journal in March 1898: "Think of late paintings where Christ is the central figure...Remember the large mosaics of Rome. Reconcile the employment of large-scale decorative means and the direct emotions of nature." 1334:, he decorated the building, particularly the unfinished chapel, which he filled with his own designs of frescos, stained glass, statues and furniture. In 1916 declared his intention to aim for the "supreme goal of painting, which is the large-scale decorative mural." he completed twenty murals between 1916 and his death in 1943. 798: 2286:

En juillet 1944, Marcel Monteux fut arrêté à Paris, transféré au camp d'internement de Drancy, puis déporté le 31 juillet 1944 par le convoi n° 77, l'un des derniers grands convois de déportation, et assassiné à Auschwitz-Birkenau le 15 août 1944. Dès l'immédiat après-guerre, la famille Monteux tenta

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Denis married his first wife, Marthe Meurier, in 1893. They had seven children, and she posed for numerous Denis works. Following her death in 1919, Denis painted a chapel dedicated to her memory. He married again on 22 February 1922 to Elisabeth Graterolleore, whom he had used a model for one of the

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In the last period of his life and work he turned his attention more and more to large-scale murals and to religious art. In 1914 Denis purchased the former hospital of Saint-Germaine-en-Laye, constructed under Louis XIV in the 17th century. He renamed the building "The Priory" and Between 1915 and

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in 1891. In March 1891 the critic George-Albert Dourer wrote an article for the Mercure-de-France calling Denis the leading example of "symbolism in painting". The work of Denis attracted the attention of critics and of important patrons, most notably Arthur Huc, the owner of the prominent newspaper

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Maurice was an only child. From an early age, his passions were religion and art. He began keeping a journal in 1884 at the age of thirteen. In 1885 he recorded in his journal his admiration for the colors, candle light and incense of the ceremonies at the local church. He frequented the Louvre, and

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By the early 1890s, Denis had arrived at the artistic philosophy which guided most of his later work, and which changed very little; that the essence of art was to express love and faith, which to him were similar things. On 24 March 1895 he wrote in his journal: "Art remains a sure refuge, the hope

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The next major event in the life of Denis was his meeting with Marthe Meurier in October 1890. From June 1891 they had a long romance, meticulously documented in his journal, and were married on 12 June 1893. She became an important part of his art, appearing in many pictures and also in decorative

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In January 1940, in his seventieth year, he summed up his accomplishments in his journal: "My marriage: Delacroix admired and understood; Ingres abandoned; break with the extremists. I have become official while at the same time cultivating the secret inquietude of an art which expresses my vision

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and Denis on the other. Denis was in Rome during most of the events, and it did not affect his friendship with Gide. More significant for him was the movement of the French government to reduce the power of the church, and the decision of the government to officially separate the church and state

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Beginning in 1891, shortly after his engagement, Denis made Marthe the most frequent subject of his paintings; she was depicted, in purified and idealized form, doing household tasks, taking naps, and at the dining room table. She appeared in his landscapes, and in his most ambitious works of the

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In his later years, he also had two important commissions outside of France, both on his favorite theme of Christian faith and humanism; the first, in 1931, for the Offices of the International Labor Bureau in Geneva, commissioned by the International Association of Christian Workers in Geneva on

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created art for churches, particularly those devastated by the recent war. Denis said that he was against academic art because it sacrificed emotion to convention and artifice, and was against realism because it was prose and he wanted music. Above all he wanted beauty, which was an attribute of

438:, where Taine wrote: "A painting is a colored surface, in which the various tones and various degrees of light are placed with a certain choice; that is its intimate being." However, it was the expression of Denis which seized the attention of artists and became part of the foundation of 1355:; Denis designed the figurative art in the center of each window, while Marguerite Huré created the window and the abstract glass designs around it. Other major religious works include the chapel Church of Saint-Louis in Vincennes (1927), the windows of the chapel of La Clarté in 335:. I rejected naturalism and materialism in favor of something more idealistic. Denis described it in 1909: "Art is no longer a visual sensation that we gather, like a photograph, as it were, of nature. No, it is a creation of our spirit, for which nature is only the occasion." 579:, Denis carved a series of seven highly stylized woodblock prints, distilling the essence of his work. His patron Huc commissioned two large decorative panels, in the form of tapestries, for his Toulouse office. Denis, like other artists of the period, also designed colorful 784:. Cochin and his family appear in one panel, and Denis's wife Anne in another. The panels celebrated families and faith. The Archbishop of Paris celebrated a mass in the office, when the French government nationalized his residence and other church property in 1907. 602:

His wife played the piano, and throughout the 1890s Denis had a growing interest in the connections between music and art. He painted a portrait of her at the piano in 1890. He designed a flowing lithograph, featuring Marthe, for the cover for the sheet music of

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and my thought, while at the same time forcing me to better realize the lessons of the masters." Denis died in Paris of injuries resulting from an automobile accident in November 1943. The date of his death is variously listed as the 2nd, 3rd, or 13th.

2410: 765:. His new projects included designs wallpapers, stained glass, tapestries, lamp shades, screens, and fans. But while he worked within the time period and used the materials of the Art Nouveau, his themes and style remained distinctly his own. 205:. At the age of fifteen he wrote in his journal, "Yes, I must that I become a Christian painter, that I celebrate all the miracles of Christianity, I feel that is what is needed." In 1887 he discovered a new source of inspiration, the works of 184:

region of France. His father was of modest peasant origins; after four years in the army, he went to work at the railroad station. His mother, the daughter of a miller, worked as a seamstress. After their marriage in 1865, they moved to

251: 541:. The French State was gradually giving up its dominance of art through the annual salons it organized. An independent Salon had been formed in 1884 and in 1890 the official Salon broke into two parts, with the formation of the 2685: 599:, which he began in 1893, and showed at the Salon of Independents in 1893. He sold the first painting to his friend Arthur Fontaine; In 1899 The French state acquired one of the paintings, his first official recognition. 668:

in the background. The nude figures represented sacred love, and he clothed figure profane love. He made another painting, this time of Marthe nude in the garden, representing both sacred and profane love in one figure.

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style; but Denis' work was purely neoclassical. The theme was the history of music, with figures of Apollo and the Muses. Perret constructed a special studio for Denis so he could paint a work of such a large scale.

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figures in the cupola of the Théâtre des Champs-Élysées. They had two children, Jean-Baptiste (born 1923) and Pauline (born 1925). Elisabeth also features in several paintings of Denis, sometimes alongside Marthe.

1430: 1226:. She later gave him credit for teaching her the craft technique of painting, though her art-deco style was quite different from his. He also devoted much of his time to writing about theory. In 1909 he published 2411:

https://silc.asu.edu/news/school-awards-radke-prize-translation#:~:text=After%20Radke's%20death,%20her%20sister%20and%20several%20friends,of%20Maurice%20Denis's%20journal%20from%20French%20into%20English

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In the late 1920s and 1930s, his prestige was such that he received commissions for a number of murals for important civic buildings. These included the ceiling over the stairway of the French Senate in the

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style in Brussels and Paris, Denis began to pay greater attention to the decorative arts, though his themes of family and spirituality remained the same. Many of his new projects were commissioned by

450:. With the publication of this article, Denis became the best-known spokesperson for the philosophy of the Nabis, though in fact that group was very diverse and had many different opinions about art. 1039:, brightening his colors and showing a happy family romping nude on the beach. He followed this with a series of pictures of nudes at the beach or in bucolic settings, based on mythological themes. 239: 1445:, to participate in the project with him. The two panels celebrate sacred music and profane (non religious music) in a colorful neoclassical style, recalling his decoration for the cupola of the 402:

and was revived again in 1890 by a major retrospective of Japanese prints at the École des Beaux-Arts. Even before 1890 Denis had been cutting out and studying the illustrations of the catalog

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Another topic he addressed in this period was the relationship between sacred love and profane love. The painting had three female figures, two nude and one clothed, following the model of

1066: 723: 426:. The celebrated opening line of the essay was: "Remember that a picture, before being a battle horse, a female nude or some sort of anecdote, is essentially a flat surface covered with 947: 1315: 699: 495: 1139: 1050: 965: 1564:"Don't lose sight of the essential objectives of painting, which are expression, emotion, delectation; to understand the means, to paint decoratively, to exalt form and color." ( 1112:, making drawings. The final work, published in 1913, was filled with rich and colorful floral illustration. He also made highly decorative book designs and illustrations for 1249:, brightening his colors and showing a happy family romping nude but more modestly on a beach. He painted a series of works of nudes at the beach, an homage to the bathers of 680: 711: 414:)" to "making a blend with Japan." His paintings in the Japanese style featured a wide format and very stylized composition and decoration, appearing like Japanese screens. 2799: 874:(1900), painted following the death of his friend Paul Cézanne. In the foreground, it portrays the friends of Cézanne, several of them former Nabis; from left to right ( 398:

Another influence on Denis at the time was the art of Japan. The interest of French artists in Japanese arts had begun in the 1850s, then was renewed by displays at the

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He produced a small number of portraits, including an unusual portrait of Yvonne Lerolle (1897) which showed her in three different poses in the same picture.

342:, but rejected it as too scientific. In 1889, Denis was captivated by an exposition of works of Gauguin and his friends at the Cafe Volponi, on the edge of the 2047: 1257:

subjects, like "The dignity of labour", commissioned in 1931 by the International Federation of Christian Trade Unions to decorate the main staircase of the

228:. He passed the entrance examination for the Beaux-Arts in July 1888, and passed another examination in November to receive his baccalaureate in philosophy. 2839: 2834: 480: 1027:. In response, Denis turned increasingly toward mythology and what he termed "Christian humanism". In 1898, he had bought a small villa at the beach in 1794: 1230:, which brought together the articles he had written on art since 1890, describing the course of art from Gauguin to Matisse (whose work he disliked) to 2222: 1640:

which had been listed on the German Lost Art Foundation website, was found by family of Holocaust victim Marcel Monteux, from whom it had been looted.

2849: 2789: 2516: 1205:. The theatre was modern; it was the first major building in Paris constructed of reinforced concrete, and is considered the first building in the 1128:(1917). The last work, made during the midst of the First World War was more somber than his earlier work, largely colored in pale blues an greys. 125:; 25 November 1870 – 13 November 1943) was a French painter, decorative artist, and writer. An important figure in the transitional period between 2844: 984: 2764: 1408:

and Michelangelo. He wrote in 1922, "The sublime is to approach the subject or wall with an attitude that is grand, noble, and in no way petty."

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The published writings and the private journal of Denis give an extensive view of his philosophy of art, which he developed over his lifetime.

739: 2464: 1446: 1198: 1165: 2784: 2769: 2392: 2345: 825: 1508:"Remember that a picture, before being a battle horse, a female nude or some sort of anecdote, is essentially a flat surface covered with 2442:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Denis (see index) 1425:, where he returned to the colorful and neoclassical themes of his beach paintings. He was commissioned to make two mural panels for the 266: 2564: 1453:

in Rome, which he had recently visited. The paintings can still be seen though they have been somewhat disfigured by later renovations.

2794: 2779: 2759: 1376:, or workshops of Sacred art. (1914–18) as part of a broad movement in Europe to reconcile the church with modern civilization. The 1035:, which was then a remote and little-populated fishing village. In 1907, he used the beach there as the setting for the neoclassical 2384: 2359: 2337: 2312: 1080:

From 1899 to 1911 Denis was also busy with graphic arts. For the publisher Vollard he made a set of twelve color lithographs titled

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in 1904, and remained a member until 1927, when the group had moved to the extreme right and was formally condemned by the Vatican.

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Denis experimented with other art forms and with decorative art. Beginning in 1889, to illustrate an edition of the book of poems

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in Paris, to give the stained glass the maximum effect. The windows were made in collaboration with the stained-glass artist

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and figure studies, particularly of mother and child. But his primary interestDenis responded in 1907, with the neoclassical

1338: 1291: 1073: 635:, which combined art and literature; he provided a series of thirty lithographs to accompany a long essay by Gide, called 2774: 399: 343: 2437: 442:. Denis was among the first artists to insist on the flatness of the picture plane—one of the great starting points for 1624: 28: 216:, where he excelled at philosophy. However, he decided to leave the school at the end of 1887 and in 1888 enrolled in 2829: 2809: 2330:

Four French Symbolists: A Sourcebook on Pierre Puvis de Chavannes, Gustave Moreau, Odilon Redon, and Maurice Denis,

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assembled in a certain order." This idea was not original to Denis; the idea had been forward not long before by

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in the Paris suburbs. His father was employed in the offices the administration of the Western Railroads in Paris.

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His most important decorative work was a series of painted panels for the office of Baron Cochin, together called

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In August 1890, Denis consolidated his new ideas and presented them in a famous essay published in the review

410:. In November 1888 he had declared to his friend Émile Bernard that he wanted to move from "Giving color to ( 2819: 2718: 2669: 2557: 1696: 1101: 631:, the most prominent literary proponent of symbolism. In 1893 made a collaborative project with the writer 628: 221: 93: 163:(Workshops of Sacred Art), decorated the interiors of churches, and worked for a revival of religious art. 2712: 1393: 1367: 1258: 2482: 1606: 665: 225: 186: 772:, painted between 1895 and 1897. It drew freely upon the Medici Chapel in Florence, and the works of 1490:

movement, but he left in 1927 after the group had moved to the extreme right and was condemned by the

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the theme "Christ preaching to the workers"; and the second, in 1938, for the new headquarters of the

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The Nabis drifted apart by the end of the 1880s, but their ideas influenced the later work of both

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and the classical nudity of the Venus de Milo and other Greek sculpture. remained the painting of

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salon in Brussels, a leading European showcase for avan-garde art. The literary movement called

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Until about 1906 Denis was considered in the avant-garde of Paris artists, but in that year

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1980 The Maurice Denis Museum was opened in the artist's home in the Parisian suburb of

865: 1756: 2602: 2587: 2048:"Le renouveau de l'art sacré dans les années 1945–1960 et la "querelle de l'art sacré"" 1450: 1434: 1400:, Nicolas Untersteller and Elizabeth Branly.The church was decorated by members of the 1342: 1337:

Besides the Priory, his other major works of this period include the decoration of the

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In 1908 Denis began work on an important decorative project for the Russian art patron

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works, such painted fans, often as an idealized figure representing purity and love.

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in Paris, finished in 1934. The murals and frescoes in the interior were painted by

2607: 1178: 875: 846: 545:, with its own annual show. Denis showed his works in both salons, as well as the 316: 194: 156: 2723: 2499: 212:

Denis was accepted as a student at one of the most prestigious Paris schools, the

2647: 2627: 2573: 2270: 1538:"Decorative and edifying. That is what I want art to be before anything else." ( 1483: 895: 758: 754: 588: 308: 2407:

http://www.frenchandenglish.com/wp-content/uploads/2011/08/ASUMasters042109.pdf

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For his technique, Denis was first drawn toward the neoimpressionist style of

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who organized his own art salons and purchased a number of works by Denis.

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in the Vatican made a strong impression upon him. He wrote a long essay,

1491: 1206: 1032: 526: 366: 181: 2354:, Kunsthaus Zürich & Grand Palais, Paris & Prestel, Munich 1993 2074:"Art et foi catholique au XXème siècle : les voies de la création…" 1695:"Denis, Maurice." Belinda Thomson, Grove Art Online, Oxford Art Online, 1345:, which was completed in 1924. The church was designed in the spirit of 2234:

Maurice Denis: at the Montreal Museum of Fine Arts | Art Knowledge News

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1963 From 28 June to 29 September 1963, at the Musée Toulouse-Lautrec,

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In January 1898 Denis made his first visit to Rome, where the works of

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1995 A major retrospective exhibition took place in 1995 at the UK's

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Denis was affected by the political turmoils of the time, such as the

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The art world was in transition in the early 1890s, with the death of

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Maurice Denis (1870–1943). Leçons de l’Italie, d’après son journal

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Maurice Denis (1870–1943). Leçons de l'Italie, d’après son journal

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On 5 February 1919, shortly after the First World War, Denis and

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Eglise du Saint-Esprit, Base Mérimée, French Ministry of Culture

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first shown in 1889, appeared in an October 1890 work by Denis,

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Journal of Denis on 24 March 1895, cited in Bouillon, pg. 25

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in 2007; it was the first major Denis show in North America.

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Decoration for the Chapel of Sainte-Croix du Vésinet (1899)

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in Paris. There he studied with the painter and theorist

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Frèches-Thory, Claire, and Perucchi-Petri, Ursula, ed.:

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in 1905. Denis joined the nationalist and pro-Catholic

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He was very active in the Roman Catholic Church as a

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Chapel of the Priory, Saint-Germain-en-Laye (1915-28)

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At the Académie Julian, his fellow students included

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Journal, 1 January 1940. Cited in Bouillon, page 101

319:. In 1890 they formed a group which they called the 2704: 2661: 2580: 103: 89: 73: 47: 23: 940:Neo-classicism versus Fauvism- the beach pictures 717:Stained glass window for private residence (1896) 147:. His theories contributed to the foundations of 761:, the art dealer whose gallery gave its name to 159:. Following the First World War, he founded the 1597:Paintings, water-colours, drawings, lithographs 705:Painted screen with doves (1896), Musée d'Orsay 220:to prepare for the entrance examination to the 1623:2007 A similar exhibition was mounted at the 1201:, being constructed in Paris by the architect 2558: 2433:Musee Maurice Denis official site (in French) 1218:Beginning in 1909, he taught painting at the 1214:Teaching and theory — "a new classical order" 753:In the mid-1890s, with the appearance of the 611:, as well as another lithograph for the poem 8: 1671:"Maurice Denis | French artist | Britannica" 1421:; and murals for the Hospice of the city of 1363:his final project before his death in 1943. 176:Maurice Denis was born 25 November 1870, in 2246:"Denis, Maurice Suche | Lost Art-Datenbank" 1384:The most important church decorated by the 1164:Portion of the mural for the cupola of the 746:Portrait of Yvonne Lerolle in Three Aspects 2565: 2551: 2543: 1733:Maurice Denis – French Painter (1870–1943) 36: 20: 1120:(1907) and twenty-four illustrations for 2452:Lessons from Italy, based on his Journal 2403:Lessons from Italy, based on his Journal 2136: 2115: 2103: 2033: 2018: 2006: 1994: 1982: 1970: 1955: 1943: 1931: 1910: 1898: 1886: 1874: 1862: 1841: 1829: 1817: 1805: 1782: 1770: 1720: 1708: 1683: 1321:Mural from the Church of Saint-Nicaise. 1056:Frontispiece lithograph from the series 290:(1890), Los Angeles County Museum of Art 2471: 2305:Maurice Denis – Le spirituel dans l'art 1662: 1268: 1193:. Denis created a large mural panel, 1135: 1046: 1023:with the bright and clashing colors of 943: 794: 676: 461: 380: 235: 2800:Members of the Académie des beaux-arts 2215:Résistance, Memoirs of Occupied France 2202:Maurice Denis- Le spiritual dans l'art 2189:Maurice Denis- Le spiritual dans l'art 2176:Maurice Denis- Le spiritual dans l'art 2163:Maurice Denis- Le spiritual dans l'art 2150:Maurice Denis- Le spiritual dans l'art 1241:Subjects of his mature works included 1222:in Paris, where his students included 2046:Rinuy, Paul-Louis (7 November 2002). 245:Self-portrait at the age of 18 (1889) 120: 7: 1330:1928, with the aid of the architect 921:on one side, defending Dreyfus, and 533:in 1891, and the first departure of 369:, as well as non-Nabi painters like 2072:Rossi, Michel (25 September 2010). 1431:1937 Paris International Exposition 2840:Commanders of the Legion of Honour 2835:French Post-impressionist painters 344:Paris Universal Exposition of 1889 14: 1922:Cited in Bouillon, 2006, page 51. 1638:Stehender Knabe unter einem Baum, 1177:, who had been a major patron of 400:Paris Universal Exposition (1855) 2850:19th-century French male artists 2790:20th-century French male artists 2525: 2508: 2491: 2474: 2352:Die Nabis: Propheten der Moderne 1625:Musée Des Beaux Arts de Montréal 1512:assembled in a certain order." ( 1314: 1298: 1283: 1271: 1157: 1138: 1065: 1049: 998: 983: 964: 946: 824: 809: 797: 738: 722: 710: 698: 679: 648:L'Amour Sacré et L'Amour Profane 506: 494: 479: 464: 383: 280: 265: 250: 238: 193:admired especially the works of 2439:Pierre Bonnard, the Graphic Art 2424:Works by or about Maurice Denis 2307:(in French). Paris: Gallimard. 673:Art Nouveau and decorative arts 543:Société national des Beaux-Arts 352:Taches du soleil sur la terrace 2845:Road incident deaths in France 1339:Church of Notre-Dame du Raincy 1292:Church of Notre-Dame du Raincy 819:, Racket game on a lawn (1900) 1: 1265:Church windows and decoration 864:Denis was a great admirer of 2785:20th-century French painters 2770:19th-century French painters 2303:Bouillon, Jean-Paul (2006). 2187:Journal, cited in Bouillon, 2174:Journal, cited in Bouillon, 2161:Journal, cited in Bouillon, 1043:Book design and illustration 514:Nude with Bouquet of Violets 2765:École des Beaux-Arts alumni 1086:L'Imitation de Jesus-Christ 2866: 1599:, with an introduction by 1447:Théâtre des Champs-Élysées 1199:Théâtre des Champs-Élysées 1166:Théâtre des Champs-Élysées 501:Portrait of Marthe, (1893) 348:Vache au-dessus du gouffre 16:French painter (1870–1943) 2780:French Symbolist painters 1699:. Retrieved 18 June 2014. 1359:(1931) and the church of 782:Pierre Puvis de Chavannes 133:, he is associated with 35: 2686:Toulouse-Lautrec Cooking 1132:Architectural decoration 1074:Les Maîtres de l'Affiche 991:Bathers at Perros Guirec 770:The Legend of St. Hubert 731:The Legend of St. Hubert 595:time, The series called 180:, a coastal town in the 2332:Greenwood Press, 1996, 1697:Oxford University Press 1632:Looting and restitution 1585:La Légende de St Hubert 1148:, panel for mansion of 1102:Saint Francis of Assisi 393:, (1891), Musée d'Orsay 2815:French Roman Catholics 2795:Académie Julian alumni 2760:Lycée Condorcet alumni 2375:Jean-Jacques Leveque, 1587: 1390:Église du Saint-Esprit 1307:Église du Saint-Esprit 1259:Centre William Rappard 566:La Dépêche de Toulouse 354:, and later in Denis' 327:, and the writings of 2825:Artists from Normandy 2463:at Knowledge (XXG)'s 2372:1945, ASIN B000XY26Y6 1757:global.britannica.com 1735:, h2g2, 14 June 2007. 1607:Saint-Germain-en-Laye 1582: 1195:The history of Psyche 666:Saint-Germain-en-Laye 436:The Philosophy of Art 273:Le Mystere Catholique 226:Jules Joseph Lefebvre 187:Saint-Germain-en-Laye 2775:French male painters 2328:Russell T. Clement, 2200:Ccited in Bouillon, 1498:Quotations about art 1402:Ateliers d'Art Sacré 1373:Ateliers d'Art Sacré 1072:Poster published in 657:Déjeuner sur l'herbe 644:Le Concert Champêtre 623:, based on the poem 613:Pelléas et Mélisande 222:École des Beaux-Arts 161:Ateliers d'Art Sacré 94:École des Beaux-Arts 2713:L'Estampe originale 2613:Henri-Gabriel Ibels 2148:Cited in Bouillon, 1795:oxfordindex.oup.com 1673:. 27 February 2024. 1394:George Desvallières 1368:George Desvallières 1247:Bacchus and Ariadne 1146:The Story of Psyche 1037:Bacchus and Ariadne 954:Bacchus and Ariadne 617:Maurice Maeterlinck 547:La Libre Esthétique 472:Marthe at the Piano 258:Climbing to Calvary 42:Self-portrait, 1916 2830:Pont-Aven painters 2810:People from Manche 2729:Post-Impressionism 2633:Ker-Xavier Roussel 2362:(German), (French) 2076:. Diocese of Arras 1747:, 18 December 1887 1614:Walker Art Gallery 1588: 1553:Nouvelles Théories 1540:Nouvelles Théories 1427:Palais de Chaillot 1305:Altarpiece of the 1224:Tamara de Lempicka 900:Ker-Xavier Roussel 859:Puvis de Chavannes 729:Second panel from 605:La Damoiselle élue 412:Puvis de Chavannes 356:Solitude du Christ 313:Ker-Xavier Roussel 207:Puvis de Chavannes 2737: 2736: 2694:Homage to Cézanne 2446:Diane Goullard – 2397:Diane Goullard – 2393:978-2-86770-181-8 2346:978-0-313-29752-6 2223:978 0 7475 9674 5 2036:, pp. 76–77. 1985:, pp. 68–69. 1973:, pp. 59–61. 1946:, pp. 58–59. 1934:, pp. 51–56. 1901:, pp. 40–41. 1889:, pp. 35–37. 1877:, pp. 30–33. 1865:, pp. 27–29. 1832:, pp. 22–23. 1820:, pp. 20–21. 1785:, pp. 18–19. 1773:, pp. 17–18. 1723:, pp. 14–15. 1686:, pp. 72–73. 1459:League of Nations 1419:Luxembourg Palace 1168:, Paris (1908-11) 890:, Denis himself, 871:Homage to Cézanne 833:Homage to Cézanne 637:Le Voyage d'Urien 629:Stéphane Mallarmé 625:Princesse Maleine 583:posters with the 557:in an article in 391:September Evening 178:Granville, Manche 111: 110: 107:Painting, drawing 66:Granville, Manche 2857: 2653:Édouard Vuillard 2623:Aristide Maillol 2567: 2560: 2553: 2544: 2538: 2530: 2529: 2528: 2521: 2513: 2512: 2511: 2504: 2496: 2495: 2494: 2487: 2479: 2478: 2477: 2467: 2428:Internet Archive 2318: 2290: 2289: 2283: 2281: 2267: 2261: 2260: 2258: 2256: 2242: 2236: 2231: 2225: 2211: 2205: 2198: 2192: 2185: 2179: 2172: 2166: 2159: 2153: 2146: 2140: 2134: 2128: 2125: 2119: 2113: 2107: 2101: 2095: 2092: 2086: 2085: 2083: 2081: 2069: 2063: 2062: 2060: 2058: 2043: 2037: 2031: 2022: 2016: 2010: 2004: 1998: 1992: 1986: 1980: 1974: 1968: 1959: 1953: 1947: 1941: 1935: 1929: 1923: 1920: 1914: 1908: 1902: 1896: 1890: 1884: 1878: 1872: 1866: 1860: 1854: 1851: 1845: 1839: 1833: 1827: 1821: 1815: 1809: 1803: 1797: 1792: 1786: 1780: 1774: 1768: 1759: 1754: 1748: 1742: 1736: 1730: 1724: 1718: 1712: 1706: 1700: 1693: 1687: 1681: 1675: 1674: 1667: 1529:, 24 March 1895) 1488:Action Française 1439:Édouard Vuillard 1429:, built for the 1318: 1302: 1287: 1275: 1191:Vincent van Gogh 1185:, and who owned 1161: 1142: 1069: 1053: 1020:La Joie de Vivre 1002: 987: 968: 950: 933:Action Française 888:Ambroise Vollard 880:Édouard Vuillard 828: 817:Gioco del volano 813: 801: 742: 726: 714: 702: 691:The Road of Life 683: 553:was launched by 510: 498: 489:of Marthe (1892) 483: 468: 404:Japan Artistique 387: 305:Édouard Vuillard 288:Motif Romanesque 284: 269: 254: 242: 124: 119: 80: 77:13 November 1943 62:25 November 1870 61: 59: 40: 21: 2865: 2864: 2860: 2859: 2858: 2856: 2855: 2854: 2740: 2739: 2738: 2733: 2700: 2657: 2643:Félix Vallotton 2618:Georges Lacombe 2598:Maxime Dethomas 2576: 2571: 2541: 2531: 2526: 2524: 2520:from Wikisource 2514: 2509: 2507: 2497: 2492: 2490: 2480: 2475: 2473: 2470: 2466:sister projects 2465: 2420: 2325: 2323:Further reading 2315: 2302: 2299: 2294: 2293: 2279: 2277: 2269: 2268: 2264: 2254: 2252: 2244: 2243: 2239: 2232: 2228: 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Arts a Rome 837: 829: 820: 814: 805: 802: 793: 774:Nicolas Poussin 749: 743: 734: 727: 718: 715: 706: 703: 694: 684: 675: 529:in 1890 and of 517: 511: 502: 499: 490: 487:Triple Portrait 484: 475: 469: 460: 432:Hippolyte Taine 424:Art et Critique 420: 394: 388: 379: 333:Hippolyte Taine 291: 285: 276: 270: 261: 255: 246: 243: 234: 218:Académie Julian 214:Lycée Condorcet 174: 169: 117: 98:Académie Julian 85: 82: 78: 69: 63: 57: 55: 54: 53: 43: 31: 26: 17: 12: 11: 5: 2863: 2861: 2853: 2852: 2847: 2842: 2837: 2832: 2827: 2822: 2820:Lay Dominicans 2817: 2812: 2807: 2802: 2797: 2792: 2787: 2782: 2777: 2772: 2767: 2762: 2757: 2752: 2742: 2741: 2735: 2734: 2732: 2731: 2726: 2721: 2716: 2708: 2706: 2702: 2701: 2699: 2698: 2690: 2682: 2678:The Seamstress 2674: 2665: 2663: 2659: 2658: 2656: 2655: 2650: 2645: 2640: 2635: 2630: 2625: 2620: 2615: 2610: 2605: 2603:Meijer de Haan 2600: 2595: 2590: 2588:Pierre Bonnard 2584: 2582: 2578: 2577: 2572: 2570: 2569: 2562: 2555: 2547: 2540: 2539: 2522: 2505: 2503:from Wikiquote 2488: 2459: 2457: 2456: 2443: 2435: 2430: 2419: 2418:External links 2416: 2415: 2414: 2395: 2377:Maurice Denis, 2373: 2370:Maurice Denis, 2363: 2348: 2324: 2321: 2320: 2319: 2313: 2298: 2295: 2292: 2291: 2262: 2250:www.lostart.de 2237: 2226: 2206: 2193: 2180: 2167: 2154: 2141: 2129: 2120: 2108: 2096: 2087: 2064: 2038: 2023: 2011: 1999: 1987: 1975: 1960: 1948: 1936: 1924: 1915: 1903: 1891: 1879: 1867: 1855: 1846: 1844:, pp. 23. 1834: 1822: 1810: 1798: 1787: 1775: 1760: 1749: 1737: 1725: 1713: 1701: 1688: 1676: 1661: 1660: 1658: 1655: 1654: 1653: 1645: 1642: 1633: 1630: 1629: 1628: 1621: 1610: 1603: 1576: 1573: 1572: 1571: 1570: 1569: 1559: 1558: 1557: 1556: 1546: 1545: 1544: 1543: 1533: 1532: 1531: 1530: 1520: 1519: 1518: 1517: 1499: 1496: 1475: 1472: 1466: 1463: 1451:Boboli Gardens 1435:Pierre Bonnard 1413: 1410: 1343:Auguste Perret 1332:Auguste Perret 1327: 1326: 1320: 1313: 1311: 1304: 1297: 1295: 1290:Window of the 1289: 1282: 1280: 1277: 1270: 1266: 1263: 1215: 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