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Hermann-Paul
René Georges Hermann-Paul (27 December 1864 – 23 June 1940) was a French artist. He was born in Paris and died in Saintes-Maries-de-la-Mer.
He was a well-known illustrator whose work appeared in numerous newspapers and periodicals. His fine art was displayed in gallery exhibitions alongside Vuillard, Matisse and Toulouse-Lautrec. Early works were noted for their satiric characterizations of the foibles of French society. His points were made with simple caricature. His illustrations relied on blotches of pure black with minimum outline to define his animated marionettes. His exhibition pieces were carried by large splashes of color and those same fine lines of black. Hermann-Paul worked in Ripolin enamel paint, watercolors, woodcuts, lithographs, drypoint engraving, oils, and ink. Recent efforts to catalog the work of Hermann-Paul reveal an artist of considerable scope.
On the eve of the First World War, he made quite an impression as part of M. Druet's "First Group." As noted by the Burlington Magazine for Connoisseurs, the exhibition was "chiefly remarkable for a series of paintings or drawings - it is hard to say which - by M. Hermann-Paul in a new medium which is simply ripolin." The Great War soon intervened and Hermann-Paul would document its tragedy as well as its foibles. After the war, he underwent several stylistic changes. In his later years, he produced many works in dry point and ink depicting his beloved Camargue.
Between 1890 and 1914 he worked as a lithographer (both in color and in black and white) and as an illustrator for weekly publications such as La Faridondaine, Le Courrier Français, Le Cri de Paris, Le Figaro, Le Petit Bleu, Gil-Blas and Le Rire. Despite great elegance and beauty, his work was imbued with social criticism from the start. Although the bourgeoisie received the brunt of his mockery, Hermann-Paul prodded all aspects of Parisian society. He was critical of rich and poor alike. He attacked monarchs, paupers, politicians, clerics and elements of the established order. Peripheral players in the art world received particular attention.
As early as 1895 his famous Vie de Monsieur Quelconque and Vie de Madame Quelconque poked holes in the established understanding of the typical aspirations of the middle class in matters both public and private. By 1900 most Parisians familiar with the local news weeklies were aware of the artist's work.
He was a staunch defender of Captain Alfred Dreyfus, whom he considered an innocent man. The artist's suspicions were substantiated after one of Dreyfus's accusers broke down under interrogation. Hubert-Joseph Henry confessed that the damning documents were actually forged. After Henry slit his throat in prison, Hermann-Paul produced a cartoon in which two people stand over the fresh grave of Major Henry. One says to the other, "This one, at least, won't give us any trouble." Avec celui-là au moins on est tranquille.
During this time, Hermann-Paul produced work in the "intimiste" style which often depicted bourgeois settings populated by women sipping tea or quietly sewing. The term was coined – derisively, it seems – by Édouard Vuillard who used it to describe his own style. Other practitioners include Maurice Lobre, Hughes de Beaumont, Henri Matisse, Rene Prinet and Ernest Laurent. The Intimists first collective exhibition was shown at Henry Grave's galleries in 1905. The exhibition included several works by Hermann-Paul.
By the summer of 1914, Hermann-Paul was firmly entrenched in the political left. A decade earlier, the Dreyfus Affair cleaved the country decisively along the lines of left and right; there was little doubt as to where the artist stood. Dreyfusards tended to be radicals, liberals, republicans, anti-clericals and pacifists. Their opponents tended to be royalists, conservatives, anti-Semites, and supporters of the church and army. In the years leading up to the war, Hermann-Paul's political commentary was consistent with the views of the political left. There was nothing in his published work to indicate the sharp turn he was about to take.
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Hermann-Paul
René Georges Hermann-Paul (27 December 1864 – 23 June 1940) was a French artist. He was born in Paris and died in Saintes-Maries-de-la-Mer.
He was a well-known illustrator whose work appeared in numerous newspapers and periodicals. His fine art was displayed in gallery exhibitions alongside Vuillard, Matisse and Toulouse-Lautrec. Early works were noted for their satiric characterizations of the foibles of French society. His points were made with simple caricature. His illustrations relied on blotches of pure black with minimum outline to define his animated marionettes. His exhibition pieces were carried by large splashes of color and those same fine lines of black. Hermann-Paul worked in Ripolin enamel paint, watercolors, woodcuts, lithographs, drypoint engraving, oils, and ink. Recent efforts to catalog the work of Hermann-Paul reveal an artist of considerable scope.
On the eve of the First World War, he made quite an impression as part of M. Druet's "First Group." As noted by the Burlington Magazine for Connoisseurs, the exhibition was "chiefly remarkable for a series of paintings or drawings - it is hard to say which - by M. Hermann-Paul in a new medium which is simply ripolin." The Great War soon intervened and Hermann-Paul would document its tragedy as well as its foibles. After the war, he underwent several stylistic changes. In his later years, he produced many works in dry point and ink depicting his beloved Camargue.
Between 1890 and 1914 he worked as a lithographer (both in color and in black and white) and as an illustrator for weekly publications such as La Faridondaine, Le Courrier Français, Le Cri de Paris, Le Figaro, Le Petit Bleu, Gil-Blas and Le Rire. Despite great elegance and beauty, his work was imbued with social criticism from the start. Although the bourgeoisie received the brunt of his mockery, Hermann-Paul prodded all aspects of Parisian society. He was critical of rich and poor alike. He attacked monarchs, paupers, politicians, clerics and elements of the established order. Peripheral players in the art world received particular attention.
As early as 1895 his famous Vie de Monsieur Quelconque and Vie de Madame Quelconque poked holes in the established understanding of the typical aspirations of the middle class in matters both public and private. By 1900 most Parisians familiar with the local news weeklies were aware of the artist's work.
He was a staunch defender of Captain Alfred Dreyfus, whom he considered an innocent man. The artist's suspicions were substantiated after one of Dreyfus's accusers broke down under interrogation. Hubert-Joseph Henry confessed that the damning documents were actually forged. After Henry slit his throat in prison, Hermann-Paul produced a cartoon in which two people stand over the fresh grave of Major Henry. One says to the other, "This one, at least, won't give us any trouble." Avec celui-là au moins on est tranquille.
During this time, Hermann-Paul produced work in the "intimiste" style which often depicted bourgeois settings populated by women sipping tea or quietly sewing. The term was coined – derisively, it seems – by Édouard Vuillard who used it to describe his own style. Other practitioners include Maurice Lobre, Hughes de Beaumont, Henri Matisse, Rene Prinet and Ernest Laurent. The Intimists first collective exhibition was shown at Henry Grave's galleries in 1905. The exhibition included several works by Hermann-Paul.
By the summer of 1914, Hermann-Paul was firmly entrenched in the political left. A decade earlier, the Dreyfus Affair cleaved the country decisively along the lines of left and right; there was little doubt as to where the artist stood. Dreyfusards tended to be radicals, liberals, republicans, anti-clericals and pacifists. Their opponents tended to be royalists, conservatives, anti-Semites, and supporters of the church and army. In the years leading up to the war, Hermann-Paul's political commentary was consistent with the views of the political left. There was nothing in his published work to indicate the sharp turn he was about to take.