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The Art of Jean-Louis Rouméguère (1863-1925)

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The Art of Jean-Louis Rouméguère (1863-1925) Graduate Theses, Dissertations, and Problem Reports 2019 Chercheur de Lumière: The Art of Jean-Louis Rouméguère (1863-1925) Elizabeth Ann Wheeler West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Modern Art and Architecture Commons, and the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Wheeler, Elizabeth Ann, "Chercheur de Lumière: The Art of Jean-Louis Rouméguère (1863-1925)" (2019). Graduate Theses, Dissertations, and Problem Reports. 3840. https://researchrepository.wvu.edu/etd/3840 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Chercheur de Lumière: The Art of Jean-Louis Rouméguère (1863-1925) Elizabeth Ann Wheeler Thesis submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirement for the degree of Master of Arts in Art History Rhonda Reymond, Ph. D., Chair Janet Snyder, Ph. D. Kristina Olson, MA Department of Art History Morgantown, West Virginia 2019 Keywords: painting, landscape, France, Pyrenees, nineteenth century, twentieth century, regionalism, somatic, Barbizon, Impressionism Copyright 2019 Elizabeth Ann Wheeler ABSTRACT Chercheur de Lumière: The Art of Jean-Louis Rouméguère (1863-1925) Elizabeth Ann Wheeler This thesis examines the landscape paintings of Jean-Louis Rouméguère (1863-1925), who was active in southwestern France in the early twentieth century. Rouméguère, who also had a brief Parisian career, was a fervently independent artist whose work nonetheless shows the varied influences of the Barbizon school, the Impressionist movement, and even classical landscape techniques. Working exclusively in the regions stretching from Auvergne to the Pyrenees, Rouméguère created atmospheric, somatically-appealing paintings that experimented with pushing small scale to an extreme. The artist’s work demonstrates his quest to capture the intense, ever-shifting light of his region while maintaining a sense of harmony and verité; ideas that culminated in his “Conférence sur une Tentative de Peinture Scientifique” presented and published in Paris in 1906, in which Rouméguère explained the key tenets of what can be described as a practical color theory. In his writing, Rouméguère revealed both the methodology that guided his work and the depth of feeling that inspired it, a combination which allowed him to strike a delicate balance between “science” and poetry in his rendering of the fields and forests of the Gersois countryside, Auvergne in the Massif Central, and especially the crags and peaks of the Pyrenees. Today, Rouméguère is virtually unknown outside of his hometown of Auch, where over three hundred of his paintings are held in the collection of the Musée des Jacobins. Through research conducted at the museum and in regional and national archives, this thesis restores the artist’s historical reputation as a significant painter of his region who adroitly captured not only the landscape but the atmosphere of France’s southwest, illuminating by extension the rich and understudied contributions of various artists and movements of this region. DEDICATION To my mom and dad, Debbie and Lee Wheeler, with my deepest gratitude for the example you continue to set for me, the faith you instilled in me, and your unconditional love and unwavering support in whatever endeavor I undertake. I love you so much and owe you more than I could ever repay. To Chuck and Marie Olson, for showing me a bigger and more beautiful world and for nurturing my love of art and of the French language. When our paths crossed, mine changed—I will always be grateful to you for the tutelage that laid the foundation for this and many other adventures. Finally, to Mme. Boyer. Thank you for treasuring the works of Jean-Louis Rouméguère for all of these years, and for so generously welcoming me into your home and sharing them with me. I am so very glad to have met you, and I hope that you will find this study a fitting tribute to M. Rouméguère. Romans 11:36 iii ACKNOWLEDGMENTS First, a huge thank you to Dr. Rhonda Reymond, Dr. Janet Snyder, and Prof. Kristina Olson. It has been an honor and a pleasure to study with you and to get to know each of you. Your support, input, interest, and expertise have been invaluable to this study. You are an inspiration to me in your kindness, your professionalism, and your genuine desire to aid your students in reaching their goals. I am very grateful for the chance you have given me to delve into the life of a relatively obscure but fascinating artist, and for the many other many wonderful opportunities afforded me through West Virginia University’s Art History Department. I would especially like to thank West Virginia University, The Valerie Canady Foundation and Dr. and Mrs. William J. Canady, and Mrs. Elizabeth Rajam for travel funding provided by the Canady Scholarship, Margaret Tavenner Rajam travel grants, the Joyce Allen Endowment, and the WVU School of Art and Design Global Positioning Studies (GPS) Award, which allowed me to travel to both Auch and Paris to complete the research necessary to this project. Many thanks, also, to the staff of the Musée des Jacobins in Auch, particularly M. Fabien Ferrer-Joly (Conservation) and Mme. Laetitia Leininger (Documentation Service), for allowing me access to the paintings and documents within the museum’s collection. Thank you, also, to M. Thierry Sovran (Supervisor) for help in moving and unwrapping artwork, as well as to Mme. Sophie Forquet for sharing her office space—and enthusiasm! I greatly appreciate the time that the staff took to pull so many paintings from storage so that I could study and photograph them. This project would not have been possible without their support. Much gratitude as well to Mme. Madeleine Boyer, step-great-granddaughter of Jean- Louis Rouméguère and her grandson, M. Mory Jambu, for responding to my letter and permitting me to come and view additional documentation, drawings, and paintings. Meeting someone with a personal connection to Rouméguère was invaluable to the completion of this thesis. I would also like to thank Dr. Twyla Meding for her assistance in writing to the Musée des Jacobins, Prof. Naijun Zhang for discussing Rouméguère’s work with me, and Beth Royall for sharing her research expertise. And, finally, thank you to my friends, especially Minh Do, and my family for their support and encouragement along the way. iv LIST OF FIGURES Figure 1: Paris Metro Card Series by J.-L. Rouméguère, c. 1913……………………………...112 Figure 2: Paris Metro Card Series (detail) by J.-L. Rouméguère, c. 1913………………….…..112 Figure 3: Paris Metro Card Series (detail) by J.-L. Rouméguère, c. 1913……………………...113 Figure 4: J.-L. Rouméguère in his studio……………………………………………………….113 Figure 5: Phases of Light (Phases de la Lumière) by J.-L. Rouméguère, c. 1905……………..114 Figure 6: Phases of Light: No. 1, Dawn (Phases de la Lumière, No. 1: Aube) by J.-L. Rouméguère, c. 1905………………………………………………………………...114 Figure 7: Morning by Vittore Grubicy di Dragon, n.d…………………....……………………115 Figure 8: View of Dinant (Vue de Dinant), by Hippolyte Boulenger, 1870……………………115 Figure 9: J.-L. Rouméguère’s “Pocket box”……………………………………………………116 Figure 10: Autumn Sky in the Mountains (Ciel d’Automne en Montagne) by J.-L. Rouméguère, n.d……………………………………………………………………..116 Figure 11: The Conflagration (L’Incendie) by J.-L. Rouméguère, c. 1909…….………………117 Figure 12: Effect of Morning in the Mountains (Effet du Matin dans les Montagnes) by J.-L. Rouméguère, before 1906…………………………………………………………..117 Figure 13: States of the Full Moon: The Twilight Glow (Etats de la Pleine Lune: Aux Lueurs Crépusculaires) by J.-L. Rouméguère, before 1906…….………………………….118 Figure 14: States of the Full Moon: At Nightfall (Etats de la Pleine Lune: A la Nuit Tombante) by J.-L. Rouméguère, before 1906………….………………………….118 Figure 15: States of the Full Moon: In the Middle of the Night (Etats de la Pleine Lune: En Plein Nuit) by J.-L. Rouméguère, before 1906….…………………………………..119 Figure 16: States of the Full Moon: Reflections of the Dawn (Aux Reflets de l’Aurore) by J.-L. Rouméguère, before 1906…………………….……………………………….119 Figure 17: Scales of Morning (Gammes du Matin) by J.-L. Rouméguère, c. 1913….…………120 Figure 18: Morning Mists (Brume du Matin) by J.-L. Rouméguère, before 1906……….…….120 Figure 19: Morning Snow (Neige au Matin) by J.-L. Rouméguère, before 1906…….………...121 v Figure 20: Snow in the First Rays of Light (Neige au Premiers Rayons) by J.-L. Rouméguère, before 1906…………………………………………………………..121 Figure 21: Landscape by J.-L. Rouméguère, n.d………….……………………………………122 Figure 22: Salon des Indépendants ticket with sketch by J.-L. Rouméguère, c. 1914….……...122 Figure 23: Exposition J.-L. Rouméguère ticket with sketch by J.-L. Rouméguère, c. 1906…...123 Figure 24: Footbridge over the Gave (La Passerelle sur la Gave) by Eugene Isabey, 1856…..123 Figure 25: Solitary Voyager in a Gorge (Voyageur Solitaire dans une Gorge) by J.-L. Rouméguère, n.d……………………………………………………………………124 Figure 26: Note de poche by J.-L. Rouméguère, n.d……….…………………………………..124 Figure 27: Tree study by J.-L. Rouméguère, n.d……….………...…………………………….125 Figure 28: Spring Morning in the Gers (Matin de Printemps Gersois) by J.-L.
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