98:, where many students went on to continue their studies. The registration or attendance fee was modest; in 1850 students paid 5 US dollars/month (25 francs). Any artist could attend the academy to paint, draw or sculpt in their chosen media. Suisse provided a male model for three weeks of the month and a female for the remaining week. Paying fees meant that the cost of models could be shared collectively, which was a great aid to students who had little money. Some students would visit the morgue, just a few yards away from the Suisse's door on the Quai, towards the
77:
1199:
106:
regaling them with anecdotes of the artists he had sat for and the paintings he had seen created, and would often entertain them by reciting classical literature. In artistic circles, he was affectionately known as "Le Père Suisse". Influential individuals such as museum curators and art professors would frequently pay visits, such was the acclaim of the academy and the respect for its proprietor.
137:, 6th Arrondissement, over the river from the Quai des Orfèvres. Passe further states that two years later in 1879 the aged Crébassol sold his studio to the Italian model and sculptor Filippo Colarossi (1841–1906) for the sum of 500 fr. Crébassol was by this time 73 years old and was presumably no longer able and/or willing to maintain his academy any longer. He died at home in 1883.
60:(1803-1815). In the latter years of the hostilities, he became a sailor, probably a conscripted marine. He was captured and imprisoned on a miserable prison hulk, most likely moored at Plymouth and was later moved to the infamous Dartmoor Prison, close by. Upon his release and repatriation, he returned to Paris where he resumed being a model. It was said that most of the figures in
159:
Despite this, the memory and gratitude of artists persisted. An attempt was made by ex-students to rekindle a flame of remembrance. In a meeting at the Académie
Colarossi in 1913, the "Société Internationale des Anciens Élèves des Académies Suisse-Crebassol-Colarossi" was formed. Its president was
72:
The academy was located in a squalid, red house, 4 Quai des Orfévres, where a sombre corridor led to very old, well-worn and dirty stairs that took one up to the front door on the second floor. Here, Suisse fitted out a rented apartment, where a large room served as an art studio and the remaining
105:
Besides the support and advice of their fellow artists, there was no tuition as such at the Académie Suisse. However, Suisse was a drawing-master and could also offer advice when posing the model. He was a jovial, knowledgeable and helpful man, much loved and admired by his "students". He enjoyed
464:
From Filae.com, 23 juin 2021. Source: Registres journaliers d'inhumation des cimetières parisiens. Les documents d'origine sont consultables sur le site des
Archives de Paris, archives.paris.fr: Registres d'inhumations – Archives de Paris –Sépulture, Inhumation: Cimetière de Montparnasse (14e),
121:
Suisse died in 1859 at his home, 78 years old. He had known and befriended many artists, and many would have attended his funeral. However, before he died, he asked that only his family attend, as artists' time was precious and he had no desire to disturb them. This instruction and his modest
151:
While
Colarossi and his academy went from strength to strength, Suisse's considerable contributions to art were slowly forgotten. No monument or plaque was placed to remind Paris and its visitor of this remarkable man. The memory of his existence was further dimmed when in 1905, the block of
849:
From Filae.com, 8 juillet 2021. Archives Départementales de Paris –Décès, 4 juin 1883, Paris 9EME (Paris, Paris), Individu concerné: Etienne
Prosper CREBASSOL, No. 878 NB.: Sépulture, 5 juin 1883, Cimetière parisien de Saint-Ouen (93) ((Saint-Ouen) Saint-Ouen-sur-Seine, Seine-Saint-Denis),
90:
with twenty lamps; an amphitheater of eighty stools or benches was more-or-less occupied according to the season, but one never saw very many empty seats. The increasingly nicotine-stained walls were covered with academies left in payment of a month in arrears by impoverished art students.
64:'s (1798–1863) ‘The Barque of Dante’, also called ‘Dante and Virgil in Hell’ by some, were painted from Suisse, in which case he was still modelling up to 1822 when the painting was completed. In the meantime, the year 1815 saw him open the art academy that was to make his name.
117:
In 1858, Suisse retired and left his academy to a nephew, while remaining an honorary professor. However, it was the artist Etiènne
Prosper Crébassol (1806–1883) that soon took on the ownership, certainly the running, of the academy, renaming it l’Academie Suisse-Crébassol.
109:
Suisse's access to young, talented artists also gave him an excellent position from which to become an art dealer. He would buy their works cheaply and sell them on at a considerably elevated price. There were numerous artists, but
Nicolas François
164:(1845–1933) and its aim was to hold exhibitions by former students, both in France and abroad. The society proposed to celebrate the contributions of the three schools to the world of art and promote the works of their students.
143:
In 1881, Colarossi moved his acquisition to a newly built, six studio complex in the courtyard of No. 10, Rue de la Grande Chaumière (6th
Arrondissement) in Montparnasse, then a hive of artistic activity. He renamed it the
23:
was a very popular, informal art school founded by Martin François Suisse (1781–1859) in 1815, and was located at the corner of the Quai des Orfévres (No. 4) and the
Boulevard du Palais, in Paris, France. From
45:
Martin François Suisse started his career as a baker or baker's apprentice, but then took up a career as artist's model. As D’Ivol notes, he posed for the celebrated artist
133:. He makes no mention of the renowned Académie Colarossi (see below), which must mean it had not been opened. It would seem that Crébassol had moved the school to No. 12,
1236:
997:
700:
740:
129:, were more-or-less limited to Julian's Academy in the Passage des Panoramas (see Crombie) and Crébassol's insufficient, little course in
571:
80:
Pont St. Michel with 4, Quai des Orfèvres, the white, corner building, that housed Acadèmie Suisse in the background. Postcard, 1904.
771:
504:
1265:
399:
1255:
140:
Colarossi wanted to start his own professional art academy and had, through hard work and economy, saved the required funds.
315:
279:
1260:
148:, a very successful, fee-funded school that offered expert tuition to male and female students from all over the world.
231:
195:
1229:
1138:
924:
381:
369:
46:
32:, most major French artists frequented this venue to meet colleagues and to study after male and female models.
189:
153:
285:
49:(1774–1833) in 1796. Suisse was also, according to Monneret, a former model for the great, classicist, artist
152:
buildings including 4 Quai des Orfèvres was expropriated and demolished to make way for the extension of the
95:
1169:
261:
161:
1222:
213:
145:
134:
130:
207:
862:
Montparnasse – hier et aujourd'hui, ses artistes et écrivains étrangers et français les plus célébres
387:
309:
255:
61:
50:
25:
1198:
993:
928:
767:
732:
696:
567:
500:
351:
297:
273:
249:
201:
177:
167:
Sadly, the initiative seems to have failed, perhaps due to the advent of the First World War.
99:
1206:
529:
375:
345:
339:
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53:(1748-1825). He, ‘Le Suisse’, posed some 39 times for the great man in the years 1811-1815.
393:
363:
333:
237:
225:
111:
57:
1089:
219:
303:
243:
183:
956:
Duval, Henri (8 February 1909). "Romance deserts the Lives of Paris
Artists' Models".
1249:
327:
267:
114:(1800 –1874) was one of those whose works contributed the most to Suisse's fortune.
357:
987:
875:
Princep, Val C. (1904). Spielmann, M.H. (ed.). "A Student's Life in Paris 1859".
690:
479:
291:
86:
102:. Here, they could observe the anatomy of fresh corpses at no cost whatsoever.
76:
29:
547:
Bourcey (1877). Ballue, A. (ed.). "Les Académies Libres – LÁcadémie Suisse".
520:
Benhamou, Reed (1997). "'Diderot et l'enseignement de
Jacques-Louis David".
533:
84:
The studio was not attractive in appearance, but was fairly well-lit by a
923:
Naissance mentionnée dans son acte de mariage du 21 juillet 1866 à Paris
671:(in French): 550 – via Gallica – Bibliothèque nationale de France.
894:
Passe, Jean (15 February 1891). Dupray, Paul (ed.). "Ateliers Libres".
499:(in French). Vol. 1. Paris, France: Éditions Denoël. p. 925.
1130:
618:
883:. London, England: La Belle Savvage : 340 – via Archive.org.
75:
423:
5 US dollars had the same buying power as 168 current US dollars.
122:
savings, he left to a niece who had been very close and helpful.
817:
Hervet, Emile (26 January 1886). "BEAUX-ARTS, Octave Tassaert".
94:
The Académie Suisse was much smaller and more informal than the
1161:
909:
Passe, Jean (3 February 1889). Dupray, Paul (ed.). "Causerie".
1118:(in French and English). France: Société Archipel. p. 3.
644:
Anon. (16–28 February 1859). "Le Marteau des Démolisseurs".
1021:(in French). Vol. 5. Paris, France: Librairie Larousse
929:
http://archives.paris.fr/r/284/etat-civil-a-partir-de-1860/
497:
L'Impressionisme et son époque, dictionnaire international
465:
Martin François Suisse, Novembre 1859, page 17 (pp. 1–194)
1056:
1014:
836:(in French). Paris, France: Charavay Frères. p. 295.
664:
1205:
This article about an art or artists' organization is a
989:
Karin Bergoo Larsson and the Emergence of Swedish Design
911:
Journal des Artistes – Revue hebdomadaire des Beaux-Arts
896:
Journal des Artistes – Revue hebdomadaire des Beaux-Arts
602:
R., E. (2 January 1925). "LES ARTS – L'Atelier Suisse".
1210:
864:(in French). Paris, France: Jouve et Cie. p. 394.
802:
de La Bédollière, Émile (6 June 1840). "The Model".
716:
H., T. (August 1850). "Parisian Hints for Artists".
766:(in French). Paris, France: Audibert. p. 56.
646:Revue anecdotique des excentricités Contemporaines
1040:Anon. (2 June 1913). "American Quartier Latin".
73:two rooms became his personal living quarters.
56:Suisse's life as a model was interrupted by the
973:CHEZ CHARLOTTE – and Fin-de-Siècle Montparnasse
450:D'Ivol, Paul (25 December 1859). "Feu Suisse".
549:Musée Universel – revue hebdomadaire illustrée
1230:
692:Claude Monet: Founder of French Impressionism
8:
789:Thomas Armstrong, C. B.: A Memoir, 1832–1911
591:. Boston, USA: Roberts Brothers. p. 57.
522:Recherches sur Diderot et sur l'Encyclopédie
943:Gauguin and the Impressionists at Pont-Aven
564:Thomas Armstrong, C. B. A memoir. 1832–1911
417:. However, it appears he was in fact named
268:Charles Auguste Émile Duran (Carolus-Duran)
1237:
1223:
945:. New York: Abbeville Press. p. 130.
806:. Vol. 1. New York, USA. p. 23.
695:. Greenhaven Publishing LLC. p. 17.
975:. Paris, France: Kickshaws. p. 11.
551:(in French). Paris, France. p. 60.
433:
413:Some sources give Suisse's forename as
606:(in French). Paris, France. p. 2.
566:. London: Martin Secker. p. 115.
454:(in French). Paris, France. p. 6.
1116:EUGÈNE DÉLACROIX – Le Générale romain
1084:
1082:
1080:
1078:
845:
843:
791:. London: Martin Secker. p. 114.
689:Haynes, Danielle (15 December 2018).
684:
682:
680:
678:
562:Lamont, L. M.; Rowe, Eleanor (1912).
478:Ayral-Clause, Odile (9 August 2019).
7:
1195:
1193:
1141:from the original on 17 January 2006
787:Lamont, L.M.; Rowe, Eleanor (1912).
743:from the original on 20 January 2016
473:
471:
445:
443:
441:
439:
437:
986:Thorell, Marge (13 November 2018).
286:Jean-Louis André Théodore Géricault
1209:. You can help Knowledge (XXG) by
1172:from the original on 13 April 2013
1090:"Collection: Charles Suisse, 1861"
834:Peintres et Statuaires Romantiques
733:"Portal for Historical Statistics"
718:Bulletin of the American Art-Union
16:Former art school in Paris, France
14:
1131:"Historical Currency Conversions"
127:Ateliers de Dessin et de Peinture
1197:
960:. New York City, USA. p. 4.
764:La vie d'artistes au XIXe siècle
669:Le Bulletin de la Vie Artistique
992:. McFarland. pp. 43, 166.
898:(in French). Paris, France: 46.
400:Louis Charles Auguste Steinheil
125:Passe writes that in 1876, the
1094:The Metropolitan Museum of Art
587:Bacon, Henry (1882). "March".
1:
1160:Webster, Ian (26 June 2021).
941:Le Paul, Charles-Guy (1987).
652:: 80 – via Archive.org.
316:Jean-Auguste-Dominique Ingres
762:Martin-Fugier, Anne (2007).
1044:. Paris, France. p. 4.
860:Émile-Bayard, Jean (1927).
619:"The Art Paris of 'Trilby'"
370:Amable Louis Claude Pagnest
232:Jean-Baptiste-Camille Corot
1282:
1192:
1063:. Paris, France. p. 4
720:: 75–76 – via JSTOR.
663:Anon. (15 December 1924).
625:. Vol. XLI. p. 4
382:Denis Auguste Marie Raffet
1057:"American Quartier Latin"
832:Chesneau, Ernest (1880).
495:Monneret, Sophie (1979).
737:Historicalstatistics.org
196:Eugène-Ferdinand Buttura
190:Richard Parkes Bonington
1114:Arama, Maurice (2017).
821:(in French). p. 2.
481:Camille Claudel: A Life
280:François-Louis Français
67:
1266:Art organization stubs
1162:"Inflation Calculator"
971:Crombie, John (2003).
623:The New Zealand Herald
617:Anon. (25 June 1904).
484:. Plunkett Lake Press.
262:Michel Martin Drolling
162:Jean Antoine Injalbert
160:the renowned sculptor
81:
47:Pierre-Narcisse Guérin
1256:Art schools in France
1055:Anon. (2 June 1913).
534:10.3406/rde.1997.1377
79:
292:Jean François Gigoux
96:École des Beaux Arts
1261:Defunct art schools
1061:The New York Herald
1042:The New York Herald
1015:"La Vie et L'Image"
913:(in French): 37–38.
877:The Magazine of Art
731:Edvinsson, Rodney.
388:Emile Schuffenecker
310:Jean-Jacques Henner
51:Jacques-Louis David
665:"L'Atelier Suisse"
146:Académie Colarossi
82:
1218:
1217:
1019:Revue Universelle
999:978-1-4766-7406-3
927:(consultable sur
702:978-1-5345-6529-6
352:Ernest Meissonier
298:Armand Guillaumin
274:Achille Emperaire
202:Alexandre Cabanel
154:Palais de Justice
100:Pont Saint-Michel
1273:
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1166:officialdata.org
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925:6 arrondissement
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419:Martin François.
376:Camille Pissarro
346:Charles Marville
256:Eugène Delacroix
208:Lyell Edwin Carr
171:Notable students
68:Suisse's Academy
62:Eugène Delacroix
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1129:Eliasen, Alan.
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589:A Parisian Year
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394:Philippe Solari
364:Francisco Oller
334:Maximilien Luce
238:Gustave Courbet
226:Camille Claudel
214:Eugène Carrière
173:
135:rue Gît-le-Cœur
131:rue Gît-le-Cœur
112:Octave Tassaert
70:
58:Napoleonic Wars
43:
38:
21:Académie Suisse
17:
12:
11:
5:
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1013:Anon. (1905).
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978:
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247:
244:Thomas Couture
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178:David d'Angers
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69:
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42:
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15:
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4:
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648:(in French).
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531:
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524:(in French).
523:
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506:2-221-05222-6
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366:(1833–1917)
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192:(1802–1828)
186:(1849–1935)
184:Jean Béraud
180:(1788–1856)
41:Early years
1250:Categories
1067:6 November
604:Paris Midi
428:References
819:La Patrie
452:Le Figaro
156:in 1906.
26:Delacroix
1170:Archived
1139:Archived
741:Archived
87:quinquet
1099:17 June
415:Charles
36:History
30:Cézanne
1176:6 July
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