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Paul César HelleuJeune Femme Cousant; Madame Helleu (Young Woman Sewing, artist's wife)1892
1892
About the Item
Paris: Gazette des Beaux Arts, 1892.
Etching and dry point on cream laid paper. 7 9/16 x 5 7/8 inches (191 x 148 mm), full margins. Signed in pencil, lower right margin. A dark, inky impression of this touching portrait of the artist's wife. Scattered marginal mat tone and light tone, tab marks on top left and right visible on recto, well outside of the image area.
- Creator:Paul César Helleu (1859-1927, French)
- Creation Year:1892
- Dimensions:Height: 7.57 in (19.23 cm)Width: 5.875 in (14.93 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Middletown, NY
- Reference Number:
Paul César Helleu
Rich impression with dramatic drypoint burr and tone no other artist epitomizes the whole atmosphere of elegance and hedonistic pleasure which pervaded Paris society at the first decade of the century as does Helleu. A close friend of Proust and the inspiration for one of the principal characters in La Recherche du Temps Perdu, Helleu’s whole life style echoed the incomparable elegance and flow of his drawing, the sheer style of his art, and his eye for the poses of the beautiful women who were his friends and his patrons. During the 1870’s, Helleu had come to know the painters of Impressionism and also artists Sargent and Whistler who became his special friends and inspiration. By the early 1880’s, he had already developed the quality of expressive sweeping line, which is the essence of his drawing, but in 1885 he was encouraged by Tissot to try working on prints in drypoint. At this time, Tissot had decided, after the death of his lover and model Kathleen Newton, to travel to the Holy Land on an artistic pilgrimage. Having decided he would no longer engrave, he gave Helleu his diamond stylus…a literal and figurative “passing of the baton”. It was in the incision and texture of drypoint that his art was to reach one of its greatest peaks. He had an innate feel for the balance between a lightly curving stroke and the deeply cut highly tonal burr of the strongest drypoint. Around the turn of the century he started to combine drypoint with multi-inking in colors, the areas of color restricted to such touches as the bows on the hats, the hair color or the red of the lips. The plate was drawn at a single sitting, and then the color inks were brushed onto it. The results are some of the most splendid and decorative of all Belle Époque prints.
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