Born: 1861 Paris, France
Died: 1942 Offranville, France
Year of Migration to the UK: 1884
Biography
Painter Jacques-Émile Blanche was born in Paris, France, on 31 January 1861. He came from a prominent family of physicians; his grandfather, Esprit Blanche, founded ‘Dr. Blanche’s Clinic’ in 1821, known for its humane mental health treatments. His father, Dr. Émile Blanche, continued the clinic’s work, attracting a clientele of musicians, writers, and artists. Blanche thus spent his early years in this unique environment, mingling with renowned figures such as Edgar Degas, Pierre-Auguste Renoir, and Théophile Gautier, who frequented the clinic or his mother's social gatherings. Although Blanche briefly studied under Henri Gervex and Ferdinand Humbert in Paris, his artistic development was shaped significantly by these interactions with leading artists and intellectuals. Known for his portraits of prominent literary and artistic figures, Blanche captured the psychological depth of his subjects with a blend of realism and stylistic sophistication. His works are distinguished by their attention to detail and striking compositions, reflecting his keen understanding of both the people he painted and the society in which they they lived. Blanche's artistic journey was characterised by his adaptability and experimentation. He frequently explored various techniques, inspired by English painters, using pastels like Manet, and employing divisionism, such as in his portrait of Maeterlinck (1931). This ongoing search for originality allowed him to engage with various avant-garde movements, from Impressionism to modernist trends, enriching his diverse body of work.
Blanche's connection to London was both personal and professional. His first visit was at age 11 during the Franco-Prussian War, which sparked a lifelong fascination with the city. From 1884, he began visiting annually, immersing himself in London's artistic circles and developing a steady clientele for his portrait work. His time in the capital allowed him to form friendships with key figures, such as James McNeill Whistler and Aubrey Beardsley, and he painted portraits of notable literary and artistic personalities, including Charles Conder (1904), Thomas Hardy (1906), Virginia Woolf (1927), and James Joyce (1934 and 1935). He maintained a studio in Knightsbridge between 1906 and 1910, underscoring his important presence in the city. Blanche's art captured London's rapid transformation in the late 19th and early 20th centuries, depicting its urban growth and cultural vibrancy. He often portrayed the evolving landscape and dynamic life of the city, showing a deep fascination with areas like Chelsea and Belgravia, which were favoured by artists and close to London's parks (Roberts 2014). Blanche's friendship with fellow painter, Walter Sickert, whom he met in London in the mid-1880s, played a significant role in Sickert’s early career. Blanche was instrumental in promoting the younger painter's work, using his connections to secure exhibitions with prominent Parisian dealers and obtaining commissions for him. He also acquired many of Sickert’s paintings, supporting him both financially and artistically. However, their friendship eventually cooled, due to differing personalities and artistic directions, although Blanche’s early support had a lasting impact on Sickert’s career.
From 1904 onwards, Blanche spent part of every year in London, deepening his integration into the English art world. He became a member of the New English Art Club (NEAC), facilitated by his friendship with Whistler, and participated in significant cultural events, such as Queen Victoria's Jubilee. His works were regularly exhibited at prestigious venues, including with the International Society of Sculptors, Painters & Gravers annual show at the Royal Academy of Arts (1925), the Fine Art Society, and the Grosvenor Galleries. Blanche’s final London exhibition at the Leicester Galleries in 1939, Paintings by Jacques-Émile Blanche and of His Collection, mirrored the scale of his 1929 Paris retrospective, which had highlighted the breadth of his career. In addition to Blanche’s own paintings, the 1939 exhibition featured works by other artists, including Manet’s portrait of Gustave Courbet, Whistler’s study for a portrait of Mrs. Leyland, and his portrait of Walter Sickert. It also featured a pencil portrait of Blanche by Augustus John and a treasured painting by Corot, Vue d'une Rivière, gifted to Blanche’s father.
In addition to his painting, Blanche was also a prolific writer and journalist, publishing over 40 books, many of which were written in English. His literary output included memoirs, art criticism, and novels, reflecting his diverse interests and his ability to articulate the cultural currents of his time. His writings provide valuable insights into the art world of the late 19th and early 20th centuries, documenting his friendships with figures like Marcel Proust and Henry James. Blanche's later years were marked by continued productivity and recognition. He became an Officer of the Legion of Honour, a testament to his standing within the French arts community. He continued to teach and write while maintaining a rigorous schedule of travel and exhibitions. He held teaching posts at the Académie de la Palette and the Académie Vitti in Paris and accepted private pupils at his studio in Auteuil. Jacques-Émile Blanche died on 30 September 1942 in Offranville, near Dieppe, France, where he had lived for many years. In the UK public domain, his work is extensively represented, including in the collections of Tate, National Portrait Gallery, Ashmolean, York Art Gallery, Aberdeen Art Gallery, Government Art Collection, and UCL Art Collection, among others.
Related books
- Thierry Saumier and Xavier Rosan, Jacques-Émile Blanche: le Peintre Aux Visages (Bordeaux: Le Festin, 2018)
- Emily Eells, ‘Du CôtEé de Dieppe: Jacques-Émile Blanche and the ‘Not Quite Conventional’ English’, Forum for Modern Language Studies, No. 53, 2017
- Jacques-Émile Blanche: Peintre, Écrivain, Homme du Monde (Milano: Silvana Editoriale, 2015)
- Jacques-Émile Blanche en Normandie: Cinquante ans de Rencontres Artistiques (Montreuil: Gourcuff-Gradenigo, 2013)
- Du Côté de Chez Jacques-Émile Blanche: un Salon à la Belle Époque (Paris: Fondation Pierre Bergé-Yves Saint Laurent, 2012)
- Jane Roberts, Jacques-Émile Blanche (Montreuil: Gourcuff Gradenigo, 2012)
- The Oxford Dictionary of Art and Artists, Ian Chilvers (ed.) (Oxford: Oxford University Press, 2009)
- Jacques-Émile Blanche and Walter Clement, More Portraits of a Lifetime (London: J.M. Dent & Sons, 1939)
- ‘M. Blanche’s Collection on View’, Birmingham Daily Post, 29 May 1939, p. 6
- ‘M. Blanche’, Illustrated London News, 27 May 1939, p. 927
- ‘French Art’, The Sphere, 27 May 1939, p. 359
- ‘At a Recent Crowded Private View in Bond Street’, The Tatler, 3 November 1937
- ‘Famous Artists’ Work For City Art Show’, Sheffield Independent, 29 September 1937, p. 9
Related organisations
- New English Art Club (member)
- Sheffield Society of Artists (member)
Related web links
- François de Herain, ‘Jacques-Émile Blanche. Écrivain d'Art’
- Impressionist Painting in Britain: Jacques-Émile Blanche, The Eclectic Light Company, 3 September 2021
- Jane Abdy, 'Artist's Biography', Tate Gallery
- Janet Whitmore, ‘Jacques-Emile Blanche
- Jane Roberts, ‘Jacques-Emile Blanche: a French Painter in London’, ART UK Stories, 15 July 2015
- Leighton Fine Art
- Portrait of Jacques-Emile Blanche by Sickert
Selected exhibitions
- Retrospective Exhibition, Leicester Galleries, London (1939)
- Sheffield Society of Artists, Graves Art Gallery, Sheffield (1937)
- Arthur Tooth Galleries, London (1937)
- International Society of Sculptors, Painters & Gravers: 29th London Exhibition, Royal Academy of Arts, London (1925)
