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Decorative Painting and Politics in France, 1890-1914

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Decorative Painting and Politics in France, 1890-1914 Decorative Painting and Politics in France, 1890-1914 by Katherine D. Brion A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2014 Doctoral Committee: Professor Howard Lay, Chair Professor Joshua Cole Professor Michèle Hannoosh Professor Susan Siegfried © Katherine D. Brion 2014 ACKNOWLEDGEMENTS I will begin by thanking Howard Lay, who was instrumental in shaping the direction and final form of this dissertation. His unbroken calm and good-humor, even in the face of my tendency to take up new ideas and projects before finishing with the old, was of huge benefit to me, especially in the final stages—as were his careful and generous (re)readings of the text. Susan Siegfried and Michèle Hannoosh were also early mentors, first offering inspiring coursework and then, as committee members, advice and comments at key stages. Their feedback was such that I always wished I had solicited more, along with Michèle’s tea. Josh Cole’s seminar gave me a window not only into nineteenth-century France but also into the practice of history, and his kind yet rigorous comments on the dissertation are a model I hope to emulate. Betsy Sears has also been an important source of advice and encouragement. The research and writing of this dissertation was funded by fellowships and grants from the Georges Lurcy Foundation, the Rackham Graduate School at the University of Michigan, the Mellon Foundation, and the Getty Research Institute, as well as a Susan Lipschutz Award. My research was also made possible by the staffs at the Bibliothèque nationale de France, the Institut nationale d’Histoire de l’Art, the Getty Research Library, the Musée des arts décoratifs/Musée de la Publicité, and the Musée Maurice Denis, ii among other institutions. Special thanks go to a number of individuals who provided particular assistance. I would like to express my gratitude to the late Françoise Cachin for allowing me access to the Signac Archives and to Marina Ferretti-Bocquillon for devoting her time to those archival visits and to subsequent questions and requests, as well as to Charlotte Liébert Hellman for related permission requests. At the Musée Maurice Denis, Marie El Caïdi could not have been more welcoming and informative, while Fabienne Stahl, working nearby on the artist’s catalogue raisonnée, has been generous both with information and images. Others I would like to thank for research assistance are Michèle Jasnin and Virginie Vignon at the Musée de la Publicité, Anne- Marie Sauvage at the BN’s Département des estampes et de la photographie, as well as Laurence Camous and François-Bernard Michel. I would also like to take the opportunity to highlight three professional opportunities that played a particularly strong role in furthering my reflection, and the people who made those opportunities possible. New Directions in Neo-Impressionism, organized by Tania Woloshyn and Anthea Callen at Richmond, the American International University in London on November 20, 2010 led to an issue of the same name in RIHA Journal, edited by Woloshyn and Anne Dymond. Their feedback on my submission, along with that of Robyn Roslak was instrumental in shaping the core of chapter three (which also benefitted from editing by Regina Wenninger). Having welcomed my attendance at sessions of her graduate seminar, Ségolène Le Men kindly invited me to contribute to a stimulating Journée d’étude (Jules Chéret, un pionnier à la iii croisée de l’art décoratif et de l’affiche) at the Musée des Arts Décoratifs on October 20, 2010, she co-organized with Réjane Bargiel in conjunction with the museum’s exhibition of the artist’s work. This experience, as well as the exhibition itself and its catalog/catalogue raisonnée, helped me to define the argument(s) of chapter two. It also led to many fruitful discussions on posters and other subjects with Karen Carter. Chapter two has also benefitted from thinking and research prompted by my contribution to a forthcoming volume edited by Anca I. Lasc, Mark Taylor, and Georgina Downey, and entitled Designs on Home: The Modern French Interior and Mass Media, 1770-1970. The University of Michigan, and the Department of the History of Art in particular, has been a very supportive community. In addition to the faculty, many of them mentioned above, I would like to thank the former and current staff members in the department and at the Fine Arts Library for all their help, in particular Debbie Fitch, Jeannie Worrall, Jeff Craft, Meghan Musolff, Sally Bjork, Deirdre Spencer, Myrtle Hudson, and Nancy Damm. My fellow graduate students had a huge role in making UofM such a friendly place. I am so glad to have met Melanie Sympson, Monica Huerta, Monique Johnson, Heather Vinson, Chris Leichtnam, Kirsten Olds, Katie Hornstein, Kathy Zarur, Pam Stewart, Antje Gamble, and Alex Fraser, as well as to have met up again with Jessica Fripp (particular thanks go to Chris for his feedback and editing on parts of this dissertation, and to Alex for help with images). Yuriko Jackall, though not from UofM, also belongs on this list for making the BN such a fun place to be. iv Profound thanks go to my mother, Carlette Hartsough, and my aunt, Cecile Thompson, for their love and encouragement throughout this entire process, and to Gabriel Loiacono for his advice and careful editing. I am above all grateful for the steadfast love and support, as well as the ironic humor, of Sébastien Brion, who helped me to think about other things besides art history (and also formatted this dissertation). Finally, I thank Nico, Jack and Thomas Brion for helping me to grow in more ways than I ever thought possible. Some of that growth is, I hope, registered here. v Chapter 1 CONTENTS ACKNOWLEDGEMENTS ............................................................................................. ii LIST OF FIGURES ....................................................................................................... viii ABSTRACT .................................................................................................................... xvi CHAPTER 1 Introduction ....................................................................................................................... 1 The Politics of Decorative Painting ................................................................................ 5 Case Studies .................................................................................................................. 13 CHAPTER 2 Decorative Aesthetics and the Search for a Modern Morality ................................... 18 Modernity, Solidarity, and (Im)morality ....................................................................... 23 Maurice Talmeyr and the Immorality of the Poster ...................................................... 43 Modern Morality and the Poster .................................................................................... 47 Disenchantment with the Commercial Poster ............................................................... 81 Conclusion ..................................................................................................................... 86 CHAPTER 3 Paul Signac’s Decorative Propaganda of the 1890s ..................................................... 88 Propaganda and Revolution .......................................................................................... 91 Art and Propaganda ....................................................................................................... 95 “Un Félix décoratif” ...................................................................................................... 99 Decorative Harmony ................................................................................................... 108 Decorative Painting in the Ère des attentats ............................................................... 116 Thwarted Ambitions .................................................................................................... 132 Conclusion ................................................................................................................... 136 vi CHAPTER 4 Maurice Denis, Decorative Painting, and the Politics of Feeling .............................. 142 Emotion, Sentiment and the Decorative ...................................................................... 145 The Turn to Classicism and Decorative Painting ........................................................ 159 Classicism and Nationalism ........................................................................................ 174 Gaucherie and the Fracturing of Decorative Harmony ............................................... 190 The Action Française .................................................................................................. 195 Doubts about Symbolism and Classicism ................................................................... 224 Conclusion ................................................................................................................... 239 EPILOGUE The Subject in Art ......................................................................................................... 243 FIGURES ....................................................................................................................... 254 BIBLIOGRAPHY ......................................................................................................... 349 vii LIST OF FIGURES Figure 1.1
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