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A complete 1904 issue of “Le Rire”, a weekly humor magazine published in Paris from 1894 to 1971 – see below This popular satirical journal was notable for the artists who contributed full-page color illustrations (chromotypographs) to the front, back and centerfold pages This edition comprises 8 pages featuring a cover illustration by Abel Faivre – see below – and a centerfold sketch by the French Impressionist Jean-Louis Forain – see below. Other images include a color caricature of the Socialist Jean Jaures – see below . Other works include a color sketch by Rene Hermann-Paul – see belowFull of interest for the art historian. Good condition – some separation at the fold. Page size 12 x 9 inches See more of these in Seller’s Other Items which can be combined for mailingLe RireFrom Wikipedia, the free encyclopediaJump to navigationJump to searchNo. 158, 13 November 1897 cover by Hermann-PaulLe Rire (French: [lə ʁiʁ], “Laughter”) was a successful French humor magazine published from October 1894 until its final issue in April 1971. Founded in Paris during the Belle Époque by Felix Juven, Le Rire appeared as typical Parisians began to achieve more education, income and leisure time. Interest in the arts, culture and politics intensified during the Gay Nineties. Publications like this helped satisfy such curiosity. It was the most successful of all the “Journaux Humoristiques.”The Dreyfus Affair occurred in 1894 and Le Rire was one of many publications to tap anti-Republican sentiment in wake of that scandal. It was a time in which French governance was frequently characterized by corruption and mismanagement. Government ministers and military officials became frequent targets. The satirical journal was filled with excellent drawings by prominent artists. It featured full-page chromotypographs on both covers and in the centerfold. Many of these pieces are now highly desirable collectibles. The most prominent contributor was Théophile Steinlen. His illustrations were biting caricatures of the political “jackasses” of the day. Illustrations were contributed by well-known artists such as Henri de Toulouse-Lautrec, Georges Goursat, René Georges Hermann-Paul, Juan Gris, Lucien Metivet, Georges Meunier, Jean-Louis Forain, Adolphe Willette, Joaquín Xaudaró, Leonetto Cappiello, Albert Guillaume, Manuel Luque, Jules Grandjouan, Abel Faivre,[1] and Jules-Alexandre Grun.During the music hall era, cabarets and cafes were crowded with personalities and Parisians could catch glimpses of the stars of the day. Le Rire was there to capture scene for its readers. Its pages depicted the likes of Yvette Guilbert, Polaire, Jane Avril, Réjane and even those of popular visitors to the theaters such as Séverine. Jean-Louis ForainFrom Wikipedia, the free encyclopediaJump to navigationJump to searchThis article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: “Jean-Louis Forain” – news · newspapers · books · scholar · JSTOR (June 2013) (Learn how and when to remove this template message)The Client (Le Client ou Maison close), Pencil, watercolor and gouache, 9 3/4 x 12 3/4 in. (24.7 x 32.8 cm.) Signed and dated at u.r.: Louis Forain /–78, 1878. Collection of the Dixon Gallery and GardensThe Buffet, 1884Jean-Louis Forain (23 October 1852 – 11 July 1931) was a French Impressionist painter, lithographer, watercolorist and etcher.Contents1Life and work2References3Sources4External linksLife and work[edit]Forain was born in Reims, Marne but at age eight, his family moved to Paris. He began his career working as a caricaturist for several Paris journals including Le Monde Parisien and Le rire satirique. Wanting to expand his horizons, he enrolled at the École des Beaux Arts, studying under Jean-Léon Gérôme as well as another sculptor/painter, Jean-Baptiste Carpeaux. Forain’s quick and often biting wit allowed him to befriend poets Arthur Rimbaud and Paul Verlaine as well as many writers, most notably Joris-Karl Huysmans. He was one of only “seven known recipients” to receive a first edition of A Season in Hell directly from Rimbaud.[1] He was the youngest artist to frequent and participate in the feverish debates led by Édouard Manet and Edgar Degas at the Café de la Nouvelle Athènes in Montmartre.A follower and protégé of Degas, Forain joined the Impressionist circle in time to take part in the fourth independent exhibition in 1879; he participated in four of the eight Impressionist Exhibitions (1879, 1880, 1881 and 1886). Influenced by Impressionist theories on light and color, he depicted scenes of everyday life: his watercolors, pastels and paintings focused on Parisian popular entertainments and themes of modernity—the racetrack, the ballet, the comic opera and bustling cafés. Forain was the most famous caricaturist of the Belle époque, and drew, among others, for the Figaro for more than 30 years. From 1898 – 1899 Forain worked as an illustrator for the weekly French magazine Psst…!, a satirical publication to promote the anti-Dreyfus.[2]Aside from being influenced by his friend of over fifty years, Edgar Degas, Forain was greatly influenced by Honoré Daumier, and his treatment of subjects in his drawings for publications such as Le Figaro and Le Courrier Francais are often reminiscent of Daumier’s. In 1892 he published the first volume of La Comédie Parisienne, a collection of Forain’s illustrations and commentary on the major political stories that disrupted France’s Third Republic—such as the anarchic crisis and the Dreyfus affair. In 1891 Forain married the painter Jeanne Bosc with whom he had a son, Jean-Loup, born in 1895.During the first World War, Forain’s illustrations honored the patriotism of his contemporaries, and he enlisted in the Section de Camouflage under Lucien-Victor Guirand de Scévola. In his later years, Forain created numerous scenes of the Law Courts and other Parisian institutions plus social satire caricatures of late 19th and early 20th century French life. In 1931, shortly before his death, he was made a member of the Royal Academy of Arts in London. He was one of France’s most famous and revered artists during his time. He was, perhaps, most highly respected for his numerous drawings which chronicled and commented on Parisian city life at the end of the 19th century. Followers and admirers of Forain’s work included Henri de Toulouse-Lautrec.References[edit]^ Robb (2000), p. 233: Rimbaud gave the others to his mother, Paul Verlaine, Ernest Delahaye, Raoul Ponchon, Jean Richepin and Ernest Millot.^ “Psst! – Anti-Semitic, Anti-Dreyfus Graphic Weekly – Paris, 1898-1899″. Retrieved 6 October 2019.Sources[edit]Jean-Louis Forain: The Impressionist Years. Exhibition Catalogue. Dixon Gallery and Gardens,1995.”Jean-Louis Forain: Artist, Realist, Humanist.” International Exhibitions Foundation, Washington, D.C., 1982–1983.Robb, Graham (2000), Rimbaud, New York: W.W. Norton & Co, ISBN 978-0330482820Charles Kunstler, Paris, F. Rieder & cie, 1931, 63 p. contient 60 planches hors-texte en héliogravure.Florence Valdes-Forain, Memphis, Tennessee, U.S.A., The Dixon Gallery and Gardens, 2011 ISBN 9782759601554Jean-Louis ForainJean-Louis Forain drawing in his studioBornLouis Henri Forain 23 October 1852 ReimsDied11 July 1931 (aged 78) ParisNationalityFrenchMovementImpressionismSpouse(s)Jeanne BoscElectedRoyal Academy of Arts Jean JaurèsFrom Wikipedia, the free encyclopediaJump to navigationJump to searchJean JaurèsMember of Parliament for Tarn departmentIn office 1 June 1902 – 31 July 1914 (12 years, 1 month and 30 days)In office 8 January 1893 – 1 June 1898 (5 years, 4 months and 24 days)Preceded byJérôme Ludovic de SolagesSucceeded byJérôme Ludovic de SolagesIn office 10 November 1885 – 11 November 1889 (4 years and 1 day)Editor of L’HumanitéIn office 18 April 1904 – 31 July 1914 (10 years, 3 months and 13 days)Preceded byNone (was founder)Succeeded byPierre RenaudelPresident of French Socialist PartyIn office 1902–1905Personal detailsBornAuguste Marie Joseph Jean Léon Jaurès 3 September 1859 Castres, Tarn, Second French EmpireDied31 July 1914 (aged 54) Paris, French Third RepublicCause of deathAssassinatedResting placePanthéonNationalityFrenchPolitical partyModerate Republicans Independent Socialists French Socialist Party French Section of the Workers’ InternationalSpouse(s)Louise BoisChildrenMadeleine Jaurès, Louis Paul JaurèsFatherJules JaurèsAlma materÉcole Normale SupérieureProfessionProfessor, journalistAuguste Marie Joseph Jean Léon Jaurès, commonly referred to as Jean Jaurès (French: [ʒɑ̃ ʒɔ.ʁɛːs]; 3 September 1859 – 31 July 1914), was a French Socialist leader. Initially a moderate republican, he was later one of the first social democrats, becoming the leader, in 1902, of the French Socialist Party, which opposed Jules Guesde’s revolutionary Socialist Party of France. The two parties merged in 1905 in the French Section of the Workers’ International (SFIO). An antimilitarist, Jaurès was assassinated at the outbreak of World War I, and remains one of the main historical figures of the French Left.Contents1Early career1.1Historian2Rise to prominence3SFIO leadership4Anti-militarism5Assassination5.1Political legacy6In popular culture7See also8References9Sources10Further reading11External linksEarly career[edit]The son of an unsuccessful businessman and farmer, Jean Jaurès was born in Castres (Tarn), into a modest French provincial haut-bourgeois family. His younger brother, Louis became an admiral and a Republican-Socialist deputy.A brilliant student, Jaurès was educated at the Lycée Sainte-Barbe in Paris and admitted first at the École normale supérieure, in philosophy, in 1878, ahead of Henri Bergson. He obtained his agrégation of philosophy in 1881, ending up third, and then taught philosophy for two years at the Albi lycéebefore lecturing at the University of Toulouse. He was elected Republican deputy for the département of Tarn in 1885, sitting alongside the moderate Opportunist Republicans, opposed both to Georges Clemenceau’s Radicals and to the Socialists. He then supported both Jules Ferry and Léon Gambetta.Historian[edit]In 1889, after unsuccessfully contesting the Castres seat, this time under the banner of Socialism, he returned to his professional duties at Toulouse, where he took an active interest in municipal affairs and helped to found the medical faculty of the University. He also prepared two theses for his doctorate in philosophy, De primis socialismi germanici lineamentis apud Lutherum, Kant, Fichte et Hegel (“On the first delineations of German socialism in the writings of [Martin] Luther, [Immanuel] Kant, [Johann Gottlieb] Fichte and [Georg Wilhelm Friedrich] Hegel”) (1891), and De la réalité du monde sensible.Jaurès became a highly influential historian of the French Revolution. Research in the archives in the Bibliothèque Nationale in Paris led him to the formulation of a theoretical marxist interpretation of the events. His book Histoire Socialiste (1900–03) shaped interpretation from Albert Mathiez(1874–1932), Albert Soboul (1914–1982) and Georges Lefebvre (1874–1959) that came to dominate teaching analysis in class-conflict terms well into the 1980s. Jaurès emphasized the central role the middle class played in the aristocratic Brumaire, as well as the emergence of the working class “sans-culottes” who espoused a political outlook and social philosophy that came to dominate revolutionary movements on the left.[1][2]Rise to prominence[edit]Jean Jaurès was initially a moderate republican, opposed to both Clemenceau’s Radicalism and socialism. He developed into a socialist during the late 1880s.In 1892 the miners of Carmaux went on strike over the dismissal of their leader, Jean Baptiste Calvignac. Jaurès’s campaigning forced the government to intervene and require Calvignac’s reinstatement. The following year, Jaurès was re-elected to the National Assembly as socialist deputy for Tarn, a seat he retained (apart from the four years 1898 to 1902) until his death.Defeated in the election of 1898 he spent four years without a legislative seat. His eloquent speeches nonetheless made him a force to be reckoned with as an intellectual champion of Socialism. He edited La Petite République, and was, along with Émile Zola, one of the most energetic defenders of Alfred Dreyfus (during the Dreyfus Affair that polarized the Right and Left), army officers, and an educated newspaper readership. He approved of Alexandre Millerand, and the socialist’s inclusion in the René Waldeck-Rousseau cabinet, though this led to an irredeemable split with the more revolutionary section led by Jules Guesde forming the Independent Socialists Party.[3]Hermann-PaulFrom Wikipedia, the free encyclopediaJump to navigationJump to searchRené Georges Hermann-PaulRené Georges Hermann-PaulBornDecember 27, 1864 ParisDiedJune 23, 1940 (aged 75) Saintes-Maries-de-la-MerNationalityFrenchKnown forArtist and IllustratorRené Georges Hermann-Paul (December 27, 1864 – June 23, 1940) was a French artist. He was born in Paris and died in Saintes-Maries-de-la-Mer.Recent efforts to catalog the work of Hermann-Paul reveal an artist of considerable scope. 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.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.”[1] 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.Contents1Early work2The Great War3Post-war4Rediscovered5References6External linksEarly work[edit]A Woman Sewing (ca. 1900)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,[2] 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.[3] 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.[4] 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.[5] The exhibition included several works by Hermann-Paul.The Great War[edit]The Four Seasons of Culture plate number fourBy 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.[6] 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.When the war began that fateful summer, the general populace was caught completely off guard. It arrived in Europe like a “peal of thunder reverberating in a clear sky.”[7] For Hermann-Paul, there was little doubt as to who was responsible; he blamed the Germans whose armies were marching toward Paris.Hermann-Paul was almost fifty when the Great War began. As an energetic man, he was likely hobbled by a general sense of uselessness. He channeled that energy into his art and he proceeded to document the war. It was at this time, when the artist switched mediums. His earlier print work required metal which was suddenly in short supply. By necessity, Hermann-Paul switched to wood. He started making woodcuts.His first major series in wood was The Four Seasons of Culture, a series of five woodcuts that depicted atrocities committed by the Germans in Belgium. The series is rich in texture and stunning in its detail. It depicts looting, burning and rape. It was met with immediate backlash from the political left.With his depiction of a brutal enemy raping its way across Europe, critics on the left claimed he was helping to shut down avenues toward peace. Negotiations were impossible with Hermann-Paul’s brutal Bosch. This type of work would only help prolong the war, they said.His next major work did little to placate his new found critics. It was entitled Calendrier de la Guerre, Calendar of the War. It tends to promote patriotic attitudes toward the war and the generals who conducted it. For the left, these were the generals who senselessly sent young men to slaughter in pointless attacks against entrenched machine guns. As far as they were concerned, Hermann-Paul became a traitor to the cause of peace.Post-war[edit]Femme Espagnole (1920)After the war, he continued to work in the media he discovered by circumstance. Metal shortages compelled him to search for another print form and that’s when he discovered the modernist woodcut. He would continue to work in wood until age started to get the best of him in the late 1930s. During this time, he produced many fine art prints and book illustrations.Hermann-Paul did a sizeable number of illustrations for Candide in the interwar period, but these were the exception rather than the rule. Wood was without question, his primary form. His post-war illustrations tended to be apolitical, in stark contrast with his pre-war work.Hermann-Paul’s first major post-war work was a morbid series of woodcuts in book form, The Dance With Death (La danse macabre; vingt gravures sur bois). The series depicts death’s passage through the modern world. Men are seen as isolated and lonely creatures. The meaning of individual works is not always clear but the series is a firm indictment of modern mechanized warfare. It did little to placate old allies.Unable to mend old fences with the political left and not disposed toward the tendencies of the right, Hermann-Paul abandoned politics in the interwar period. His inspirations become more literary than journalistic and his style evolved from a belle époque line to a modernist simplification.Hermann-Paul practiced some painting on canvas, but it was never a form he mastered. First and foremost his contribution to the art world resides in his daring composition of the 1890s and 1920s in lithography and in woodcut respectively. His many book illustrations, both reproductive and original also deserve much praise, as does his immense production of journalistic satire in the 1890s through the end of the 1910s. The unique works of art that should be remembered are beautiful works on paper: pastels, color drawings, watercolors and preparatory pencil sketches for his publications.Rediscovered[edit]During the 1980s, the Zimmerli Museum at Rutgers acquired no fewer than 150 pieces by the artist.[8] They demonstrate a range of expression for which few collectors had previously given him credit. Interest has recently surged since Hermann-Paul’s work was rediscovered by a larger public through the auction of his earlier pieces in October 2000 in Chartres. Many drawings and prints currently on the market bear the stamp of this sale on the verso.
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