Sans titre

Always remaining in the family of Pierre Louÿs (1870-1925) and by descent, Jacques-Émile Blanche claims he wanted to burn this double portrait. Henri de Régnier (1864-1936) refused to allow the painting to be exhibited: the reason being Pierre Louÿs's hatred for Henri de Régnier, who had betrayed their pact of friendship.

Meanwhile, Jacques-Émile Blanche had given it to Pierre Louÿs and dedicated it to him, and it has remained in his family ever since.

This portrait of two famous writers, associated with the Parnassian aesthetic and decadent symbolism, depicts the young poet and novelist Pierre Louÿs, then twenty-three years old, sporting a handsome mustache and a white orchid in his buttonhole, his gaze distant, hinting at a smile. Meanwhile, Henri de Régnier, almost thirty, more austere and imperious, holds his cigarette at monocle height.

Belonging to the same cosmopolitan circle of friends and intellectuals, these two contrasting personalities, so different in their demeanor, were at that time in love with the same woman, Marie, daughter of the poet José-Maria de Heredia.

Marie de Régnier between her husband Henri de Régnier, on the left, and her lover Pierre Louÿs

Henri de Régnier married her in 1895, but she became Pierre Louÿs's mistress in 1897. However, this romantic rivalry made them brothers-in-law in 1899, when Louÿs married Louise de Heredia, Marie's younger sister.

Nephew of the painters Federico and Pedro Madrazo, through whom Ochoa likely met Blanche, the young "hidalgo", a regular summer visitor to Dieppe, became a close friend of Blanche, who, palette in hand, is depicted with the haughty and self-assured gaze of the elegant socialite he was.

Raymond Rivoire (1884-1966), a French sculptor born in Cassel, in northern France, participated in the Salon des Artistes Français from 1905 onward, receiving the silver medal in 1921 and the gold medal in 1929.

Julie Duvidal de Montferrier, Bacchus enfant (1822)

Julie Duvidal de Montferrier (1797–1865), a French painter, is also known by her married name, Julie Hugo, having married Count Abel Joseph Hugo (1798–1855) in 1827, brother of the great writer Victor Hugo.

Portrait of Abel Hugo by his wife, Julie Duvidal

At the Salon of 1819, Julie Duvidal de Montferrier exhibited this self-portrait with a turban,

Julie Duvidal de Montferrier, Self-Portrait at 22

along with its companion piece, a portrait of her sister Zoé. Long lost, as it belonged to the family of the Marquis de Montferrier, it was attributed to François Gérard (1770–1837).

Portrait of Zoé Duvidal de Montferrier at 19

In 1895, Marcel Proust, 24, met Alphonse Daudet's 17-year-old son, Lucien, for the first time.

Proust was charmed by Lucien, who was both very handsome and very elegant, with curly hair, a pomaded and powdered complexion, and a soft, soft voice.

That very evening, Proust sent Lucien a text by Lamartine, and in his subsequent letters, he quickly shifted from "dear sir" to "dear friend," and then to "my dear little one." This is how a romance began, though there's no evidence to suggest they were actually lovers.

Lucien with one arm around Marcel's shoulder, seated

However, the affair lasted only eighteen months. Revealed in a newspaper by the writer Jean Lorrain, Proust challenged Lorrain to a duel for having hinted that Marcel and Lucien were lovers.

belong to a mythological cycle representing the four deities: celestial, terrestrial, marine, and infernal.

It was probably commissioned from Albani by Jacques Le Veneur, Count of Carrouges. A drawing is in the Louvre (Inv. 7178); other versions are in private collections and at the Corsini Gallery (Inv. 129); a copy is in the Chambéry Museum of Art and History (Inv. A 156); and it was engraved by Robert Delaunay.

In the foreground of the group of students are his friends:

Jean-Victor Schnetz (1787–1870), Auguste Couder (1789–1873), Léopold Robert (1794–1835), and Amable Louis Claude Pagnest (1790–1819). The work is titled "Interior of David's Studio at the Collège des Quatre-Nations."

However, the promising young painter's career was abruptly cut short by dysentery contracted during an expedition to the Levant.

Here, the portico at the entrance to the property and the basin,

Basin at Jas de Bouffan, circa 1876, oil on canvas, 46.1 × 56.3 cm, Hermitage Museum

The basin at Jas de Bouffan, 1935

The farm at Jas de Bouffan, 1886

The building is part of the Jas de Bouffan farm, one of the outbuildings of the country house purchased in 1859 by Louis Auguste Cézanne, the artist's father, which would become Paul Cézanne's main residence.

Jas de Bouffan in 1935