Reviewed by: Venus Betrayed: The Private World of Édouard Vuillard by Julia Frey Stephanie Rauschenbusch (bio) venus betrayed: the private world of Édouard vuillard Julia Frey Reaktion Books http://www.reaktionbooks.co.uk/display.asp?ISB=9781789141603 424 pages; Cloth, $42.09 Julia Frey, biographer of Toulouse-Latrec, has written a biography of Édouard Vuillard that begins with her explanation of her own amazement at his work: I was around twenty when I first saw art by Édouard Vuillard (1868–1940). … I felt summoned, magnetized by their (the art works') subtly constructed beauty. They seemed nearly abstract, composed with conflicting proportions and perspectives and using wildly contrasting patterns: flowered wallpaper; striped upholstery; draperies; tapestries; tile work. … As I came close, I realized that these canvases nearly always included figures who blended so seamlessly into the background as to be nearly invisible. Most often they were women, dressed in marvellous, complicated fabrics; cloth with symbolic impact. Vuillard wraps his women in climbing vines, barricades them behind brick walls or makes them into femmes fleurs. Each chapter is a separate investigation into Vuillard's life and relationships, and each chapter reads like the chapter of a novel. First we learn of Vuillard's family at dinner, and the discussion surrounds an 1889 painting reproduced in color, which Frey characterizes as "like a puppet-show maquette. … This is not surprising, since Vuillard worked with experimental puppet theatres for several years about this time." She goes on to liken the figures to the three witches in Macbeth and describes their rite as "involving a match, a tiny candle, a huge bottle of wine, a table with no food, and a baguette as big as a [End Page 166] truncheon." This is indeed a totally strange painting in which only the mother is fully visible wearing black and silhouetted against golden candlelight. The other figures are either totally veiled (the grandmother) or standing uncertainly in the doorway. Using Vuillard's sketchbooks, Frey finds five images that seem to supply the key to this mysterious event. The biographical explanation for the painting follows: After his father's death in 1884, the family, in economic straits, was almost entirely dependent on Madame Vuillard's cottage industry as a corset-maker, which she ran from their dining room. Édouard, the youngest child,—then fifteen—fell into the first of what became a repetitive, frightening depression. A typical adolescent, he dealt with misery by slipping out secretly, pursuing forbidden pleasures. So Vuillard paints his home as a sort of trap, in which he and his older sister are squashed into the very wallpaper by the dominance of their mother. One of Vuillard's most amazing oils is set in the dining room as a confrontation between mother and sister, in which the sister bends almost in half as she seems to disappear into the wall. Frey points out that Vuillard used this vivid and visually variegated home studio, where the corsets were made and young girls were employed as seamstresses, as his theater, and the seamstresses and his mother and sister as characters in a perpetual play in which he controlled the movements of each one. He himself is often just a pair of black eyes, staring in an otherwise anonymous face. He huddles in doorways, eats non-existent meals, tries to be the only male present, since his father died when Édouard was fifteen. He himself has no thought of becoming a naval officer like his father, but like his friends from school, he attends art classes and begins to paint his own scenes. Frey takes a chapter to discuss Vuillard's arrangement with his grandmother, whose private bedroom is allowed to be his studio. He paints her often, in her widow's weeds, against the brilliant light from her window, likened to that of Tachiste paintings. She had her daughter before she was married and is somehow always tarred by this brush of the daughter's (Vuillard's mother's) illegitimacy. Vuillard's mother is also seen as cramped by this opprobrium. Another chapter covers the men of Vuillard's family—his pathetic, wounded [End Page 167] father, his disappointed brother, retired from the military, who also...
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