A lady under the lamp (Naples Street)
1933
Distemper
80 x 85 cm. (31.5 x 33.5 in.)
Treating Vuillard’s favourite subject, that of a figure in a domestic setting, Une Dame sous la lampe depicts Miche Marchand in the salon of the Hessels’ Paris home at 33, rue de Naples. Vuillard knew Miche at least since 1910, when she sat for his Portrait de Miche Savoir, now at the Tate Modern London. At the time, she was married to the successful Parisian dramatist Alfred Savoir, whose real name was Alfred Poznanski, and was also very close to Lucy Hessel, a long-standing friend and patron of Vuillard’s. Annette Vaillant recalled Miche as a young woman: "Miche Savoir, youthful and Polish like her husband, who was her cousin, did not suit the period’s canons of beauty. With a small, amber-coloured, Kalmuck face and salient cheekbones beneath pretty, slightly slanting, green eyes, she liked to dress in unusual clothes. I thought she was beautiful" (quoted in A. Salomon and G. Cogeval, op. cit., vol. II, p. 1107).
The interior depicted in the present work is the salon of the Hessels’ apartment at 33, rue de Naples, where Vuillard spent most of his evenings. The scene depicted here is closely related to Vuillard's larger oil Dans le salon le soir, rue de Naples of 1933, now at the National Gallery of Art, Washington, D.C., showing Madame Marchand in the same interior, which is extended to the right to include another two figures. Antoine Salomon and Guy Cogeval have described this composition as "the portrait of Madame Léopold Marchand resting her elbow on a mahogany table bearing a blue porcelain lamp with a yellow shade trimmed with deep red. The right-hand side of the composition is bathed in yellow light. At the centre is a small pastel by Vuillard on a presentation stand; on the left, a grey fireplace beneath a large mirror in which objects on the mantelpiece stand out against a shadowy reflection of the far end of the room" (ibid., vol. III, p. 1506). This atmosphere of tranquillity and meditation motivated Jacques Salomon to describe this work "as [one of his masterpieces of intimacy and contemplation]" (J. Salomon, op. cit., p. 184).
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