Fontainebleau Fine Art

SCHUTZENBERGER, Ren̩-Paul (French, 1860-1916) Paysage la Meule (Landscape with a Haystack). Circa 1890

Beautiful custom-made, hand-carved, scratched and limed, solid wood, modern style French frame from the renowned Parisian framing house Rue Bonaparte
Ren̩ SchuÌtzenberger was born in a wealthy Alsatian family of important brewers. His father Paul SchuÌtzenberger (1829 -  1897) was a famous French chemist. The painter Louis-Fr̩ed̩ric SchuÌtzenberger (1825 - 1903) was his cousin.
Not having to worry about making a living, Ren̩ SchuÌtzenberger could focus on his passion for the Arts.
He studied at the prestigious. ÏAcad̩mie Julian under the tutelage of the Academic master Jean-Paul Laurens. This Parisian private art school, founded in 1868 by Rodolphe Julian, was highly-regarded by the profession as it enrolled the best artists of the time to teach and it trained numerous students coming from around the world who later became famous leaders of major art movements (Hassam, Metcalf, Sargent, Bonnard, Vuillard_).
SchuÌtzenberger started to exhibit at the career-launching Salon des Artistes Fran̤ais from 1889, at the avant-garde Salon des Ind̩pendants from 1902 and at the Soci̩t̩ Nationale des Beaux-Arts from 1907. He was awarded an Honorable Mention at the Salon of 1897 and at the World Fair of 1900.
The artist excelled in portrait, nude, landscape and genre painting, depicting everyday life and intimate subjects as well as sceneries from his birthplace, Alsace.
SchuÌtzenberger typical Post-Impressionist style was influenced by Les Nabis a group of avant-garde artists lead by Maurice Denis, Paul S̩rusier, Pierre Bonnard, aiming at revitalizing the art of painting following Paul Gauguin example. Most of them also studied at the Acad̩mie Julian.
The Nabis painters were also advocates of the modern trends: Japonism and Cloisonnism when Japanese
wood-block prints became a source of inspiration for many Impressionist painters. These artists were especially
touched by the lack of perspective and shadow, the flat bold areas of strong vibrant single colors separated by
dark outlines, and the compositional freedom gained by placing the subject off-center, mostly with a low
diagonal axis to the background.
Japonism and Cloisonnism are particularly evident in this depiction of a simple and serene landscape with
its curved lines, patterned surfaces, contrasting voids and synthetic forms reduced to their essence.
•Museums:
The artists work can be seen in the museum of Soissons.
• Literature:
- Jules Martin: Nos peintres et nos sculpteurs (Our painters and sculptors), Paris, 1897
- Catalogue du Salon de la Soci̩t̩ lyonnaise des Beaux-Arts, 1898
- Catalogue g̩n̩ral officiel de l'Exposition Internationale Universelle de 1900, Paris
- Catalogue du Salon de la Soci̩t̩ des Amis des Arts de Nantes, 1907
- L'Art et les Artistes, 7̬me ann̩e, 75, juin 1911
- The Julian Academy, Paris 1868-1939, Spring Exhibition 1989, Shepherd Galleries, New York
- Benezit: Dictionnaire des peintres, 1999
- Dominique Lobstein: Dictionnaire des Ind̩pendants (1884 - 1914), tome III, 2003
- GaÌøte Dugnat: Les catalogues des Salons de la Soci̩t̩ Nationale des Beaux-Arts (1906 - 1910), 2005
- GaÌøte Dugnat: Les catalogues des Salons de la Soci̩t̩ Nationale des Beaux-Arts (1911 - 1920), 2005
- Paul-Ren̩ SchÌ_tzenberger, Documentation du Mus̩e d'Orsay, Paris
- Gabriel Andr̬s: Ren̩-Paul SchÌ_tzenberger, in Nouveau dictionnaire de biographie alsacienne,
volume 47, Strasbourg, 2006