Cougnon Marion, Louise Breslau : sa vie, son œuvre, Phd thesis under the supervision Bruno Foucart, Université Paris-Sorbonne, UFR Art et archéologie, 2000→
Zillhardt Madeleine, Louise Catherine Breslau et ses amis, Paris, éditions des Portiques, 1932→
Alexandre Arsène, Louise C. Breslau, paris, Les éditions Rieder, 1928
Louise Breslau : De l’impressionnisme aux années folles, musée Catonal des Beaux-Arts, Lausanne, Switzerland, October 13, 2001 – January 20, 2002→
Louise-Catherine Breslau, Paris, Galerie Durand-Ruel, March 2 – 16, 1926
Swiss painter and pastellist.
Louise Breslau was educated in a convent and took her first drawing lessons from 1874 to 1876 with Swiss portraitist and genre painter Eduard Pfyffer (1836-1899). At the age of nineteen, she decided to pursue her education abroad: “My thirst for knowledge was unquenchable, and I knew that I would find ways to learn in Paris”, she wrote in June 1926 in the magazine Am Häuslichen Herd (p. 270). She chose to enrol in the Académie Julian, which offered a more alternative education than the École Nationale des Beaux-Arts, which was still not open to women at the time. A hard-working and ambitious student, she was considered the most promising and talented among her classmates, as her rival Marie Bashkirtseff (1858-1884) wrote in her diary.
At the suggestion of her teachers Rodolphe Julian (1830-1907) and Tony Robert Fleury (1837-1911), she presented her Portrait des amis [A portrait of friends] at the 1881 Salon, earning her an honourable mention and making her “one of the victors of the 1881 Salon” (Ernest Hoschedé in Henri IV, 14 May 1881). After this she went on to paint portraits exclusively, mostly of her relatives, as in the work Chez Soi [At home, 1885], a portrait of her mother and sister now kept at the Musée des Beaux-Arts in Rouen.
In 1887, L. Breslau represented Switzerland at the World’s Fair and won a gold medal, securing her reputation as an officially recognised artist. Private commissions from members of the nobility and the wealthy middle-class quickly multiplied. L. Breslau was highly sought after for her ability to render the physical and psychological traits of her models, and made several portraits of children, most often in pastels. In 1892 she drew a portrait of Miss Adeline Poznanska,which she preceded with a number of studies in various poses and attitudes. The French state purchased several of her works during her lifetime and awarded her with the Legion of Honour in 1901, making her the first foreign recipient of the decoration.
At the onset of World War I, L. Breslau, who had been living in France for forty years, took the side of her adopted country. Looking to fulfil her patriotic duty, she created a series of portraits of soldiers called to the front and donated them to their families. From 1915 to 1917 she made several drawings of Red Cross nurses. In 1921 she painted a portrait of the writer Anatole France, then at the height of his success, whom she had met around 1890.
At the end of her life L. Breslau chose to work predominantly on still lifes. When she died in 1927 Madeleine Zillhardt (1863-1950), her partner since 1885, strove to defend the artist’s interests as best she could by donating most of her works to French museums and publishing L. Breslau’s writings. Two commemorative exhibitions devoted to the artist were held, in 1928 at the École Nationale Supérieure des Beaux-Arts and in 1929 at the Musée d’Art et d’Histoire in Geneva. While her work was later mostly forgotten, it found a new lease of life in 2005-2006 with the exhibition Louise Breslau, dans l’intimité du portrait at the Musée des Beaux-Arts in Dijon.
Publication made in partnership with musée d’Orsay.
© Archives of Women Artists, Research and Exhibitions
Louise Breslau, Le Retour du marché, nd, pastel, 63 x 47.8 cm, musée des Beaux-Arts de la ville de Paris, Paris Musées
Louise Breslau, Henry Davison, poète anglais, 1880, oil on canvas, 86.5 x 45.2 cm, musée d’Orsay, © Photo: RMN-Grand Palais (musée d’Orsay) / Hervé Lewandowski
Louise Breslau, Portrait des amis, 1881, oil on canvas, 85 x 160 cm, MAH Musée d’art et d’histoire, Ville de Genève
Louise Breslau, Portrait de Henri Le Crosnier, 1882, oil on canvas, 65 x 55 cm, Ville de Genève, Musées d’art et d’histoire
Louise Breslau, Chez soi ou Intimité, 1885, oil on canvas, 127 x 154 cm, musée des Beaux-Arts, Rouen, © Photo: RMN-Grand Palais (musée d’Orsay) / Martine Beck-Coppola
Louise Breslau, Portait de Jean Carriès dans son atelier, 1886-1887, oil on canvas, 176 x 165 cm, Petit Palais, musée des Beaux-Arts de la ville de Paris, Paris Musées
Louise Breslau, La petite fille au chien blanc ou portrait de Mlle Adeline Poznanska, 1891, pastel, 130.5 x 765 cm, musée d’Orsay, © Photo: RMN-Grand Palais (musée d’Orsay) / Hervé Lewandowski
Louise Breslau, Deux jeunes filles près de l’eau, 1893, lead pencil drawind, 12 x 21.5 cm, musée d’Orsay, kept at the musée du Louvre, © Photo: RMN-Grand Palais (musée d’Orsay) / Michel Urtado
Louise Breslau, Groupe de petites filles, 1896, pastel, 79 x 93 cm, musée d’Orsay, © Photo: RMN-Grand Palais (musée d’Orsay) / Hervé Lewandowski
Louise Breslau, Fillette à l’orange, 1899, lithgraph printed in different couleurs, 32.8 x 23.9cm, © The Trustees of the British Museum
Louise Breslau, L’Artiste et son modèle, 1921, oil on canvas, 105 x 113.5 cm, Musées d’art et d’histoire, Genève
Louise Breslau, La Table du goûter, ou titre attribué : Fruits du midi, 1924, oil on canvas, 54 x 79.5 x 2 cm, © Ville de Grenoble /Musée de Grenoble –J.L. Lacroix
Louise Breslau, Femme assise à une table, une plume à la main, brush drawing, brown ink, brown wash and black chalk, 23.1 x 31.3 cm, musée d’Orsay, conservé au musée du Louvre, © Photo: RMN-Grand Palais (musée d’Orsay) / Michel Urtado
Louise Breslau, Schoolgirl, nd, charcoal and chalk on paper, 54.6 x 22.2 cm, Smithsonian American Art Museum
Louise Breslau, Femme à la chemise enlevée, pastel, charcoal and chalk on Ingres paper, 62.5 x 47.8 cm, © Ville de Grenoble /Musée de Grenoble –J.L. Lacroix