Suzanne Valadon, The Blue Room, 1923, oil, Georges Pompidou Center, Paris, wikiart.org
Suzanne Valadon
When Henri de Toulouse-Lautrec recommended to Edgar Degas that he look at some drawings by a young artist he knew, Degas agreed to a meeting. After carefully studying the work, Degas turned to the artist and said, "You are one of us." The artist was Suzanne Valadon.
Suzanne Valadon, born Marie-Clémentine Valadon in 1865 in Bessines-sur-Gartempe, France, grew up in poverty. Her mother, an unwed laundress, took five-year-old Valadon and her half-sister to live in Monmartre, known as the bohemian quarter of Paris. Surrounded by artists, creatives, prostitutes and pimps, Valadon grew up with a complete lack of convention, and it suited her well — she felt no stigma for being poor, to not knowing her father's identity, or living the life of a free spirit.
Even as a child she was independent, rebellious, and hot-tempered, but also sensitive and fun-loving. To help her mother financially, Valadon, left school at the age of 11 to work various jobs, including one she loved the most — working as an acrobat in popular Molier circus. But a fall when she was 16 ended her dream.
Suzanne Valadon, l to r: Genevieve Camx-Zoegger, Woman in White Stockings, Raminon Sitting on a Cloth, wikiart.org
A model for famous painters
An attractive young woman, she turned to professional modeling in the 1880s and soon found herself an integral part of the fabled art world of Paris as a model, and in some cases, a close friend and/or lover to many of the most famous painters of her time including Toulouse-Lautrec, Renoir, and Puvis de Chavannes.
Having proximity to such artistic genius nurtured a passion for art Valadon had as a child when she made drawings on scraps of paper, on the walls, and even on pavement with pencil stubs or lumps of coal.
Unable to afford formal art training, she learned from the masters she modeled for, observing their techniques and gaining access to new and exciting developments in art. Using graphite and charcoal, pastel and oil paints, she honed her skills by sketching and painting her family and neighbors, laying the foundation for her groundbreaking career in art.
Valadon's relationship with Toulouse-Lautrec was particularly close. It was he that suggested she change her name to Suzanne as an amusing reference to the story of Susanna and the Elders because Valadon modeled for many older artists. They were good friends who became lovers, and he enthusiastically supported her artistic endeavors, encouraging her to show her drawings to the highly respected Edgar Degas.
Suzanne Valadon, The Abandoned Doll, 1921, National Museum of Women in the Arts, Washington, D.C., wikipedia.org
Mentored by Edgar Degas
She met with Degas, and in what Valadon described as "the most wonderful moment of my life," he studied her work, turned to her, and said, "Yes, it is true. You are one of us." This affirmation was not just an acknowledgment of Valadon's artistic skill, but also a testament to her worthiness to belong in the predominantly male art world of that time.
Degas' endorsement boosted her confidence and played a significant role in her artistic development. He not only encouraged her but also tutored her, purchased some of her art, and taught her drawing and etching techniques as she developed her own artistic style. Their deep friendship, comprised of mutual respect and a sincere appreciation for each other's company, lasted until his death.
Valadon lived a carefree lifestyle in Paris. Unlike most female artists of her time, she did not shy away from Paris nightlife. Due to her upbringing, the cafés, entertainment, and camaraderie with other artists, musicians, and writers appealed to her; she was completely at ease and very popular.
A respected and influential artist
As time went on, she continued to grow as an artist. In 1894, Valadon showed five drawings at the Société Nationale des Beaux-Arts, where she was the first female artist to have work admitted. The next year, 12 of her intimate etchings of women were exhibited as she began to show her work regularly at the Galerie Bernheim-Jeune in Paris.
Valadon continued to create notable drawings, and started painting as well. In 1911, she started showing her work in solo exhibitions and shows at the Weill Gallery, the Salon d'Automne, and the Salon des Independents.
By the end of World War I, her work was in high demand. She was exhibiting widely, and her reputation continued to grow. As she entered her sixties, she was acclaimed and respected by peers and critics alike.
Valadon passed away on April 7, 1938, in Paris. She had experienced extremes in her unconventional lifestyle with marriages, love affairs, finances, and anxiety stemming from the mental illness and alcohol abuse of her son, Maurice Utrillo, a highly successful artist in his own right. But when all was said and done, she was an important artist who carved
Suzanne Valadon, Portrait of Painter Maurice Utrillo (her son), 1921, oil, Musee de Montmartre, Paris
done, she was an important artist who carved her own path in the male-dominated world she lived in, creating a diverse body of work that included extraordinary female nudes, portraits of women, still lifes, and landscapes.
"I had great masters.
I took the best of them,
of their teachings,
of their examples.
I found myself,
I made myself,
and I said what
I had to say."
- Suzanne Valadon
Painting the female body without idealism
Valadon's artistic style was distinctive and groundbreaking. Her technique and observational style had much in common with the French and English Post-Impressionists; however, her thematic edge, which focused on gender, sex, and aging, were her unique contribution. Known for her bold line drawings and paintings characterized by powerful composition and vivid colors, her candid depictions of female nudes were particularly revolutionary. She was one of the few women artists of that time who dared to explore this subject, doing so with an unorthodox frankness and realism.
She eschewed the idealized version of women rendered by most male artists. She depicted the female body as it really was in everyday, and often intimate, poses. She challenged the conventions of the nude and carved out a new critical space for considering a woman's body.
A profound legacy
Valadon's legacy as a female artist is profound. She was a pioneer in breaking the tradition of art, paving the way for future generations of unconventional female artists. Today, Valadon is considered one of the greatest artists of her time and her work can be found in museums and private and public collections.
