Georges Rouault prints : from the Collection of Harold P. and Jane F. Ullman

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LOS ANGELES COUNTY MUSEUM

ARHHIV/F COPY

Do not i-emove
office of the Art Division

Cover: Detail from " SELF-PORTRAIT WITH CAP." (Catalog No. 82.)

FROM THE COLLECTION OF
HAROLD P. AND JANE F.ULLMAN

NOVEMBER 1-
DECEMBER 17
1961

LOS ANGELES COUNTY MUSEUM

BOARD OF SUPERVISORS -Los Angeles County

ERNEST DEBS, Chairman
FRANK G. BONELLI
BURTON W CHACE
WARREN M. DORN
KENNETH HAHN

BOARD OF GOVERNORS and DIRECTORS OF MUSEUM ASSOCIATES

WILLIAM T SESNON, JR., President, Board of Governors

EDWARD W CARTER, President, Museum Associates

HOWARD E AHMANSON

DAVID E. BRIGHT

SIDNEY E BRODY

RICHARD E BROWN

JUSTIN DART

CHARLES E. DUCOMMUN

C. V DUFF

JOHN JEWETT GARLAND

MRS. FREEMAN GATES

ED N. HARRISON

DAVID W HEARST

ROGER W JESSUP

T R. KNUDSEN

JOSEPH B. KOEPFLI

MRS. RUDOLPH LIEBIG

MAURICE A. MACHRIS

CHARLES O. MATCHAM

DR. FRANKLIN D. MURPHY

JOHN R. PEMBERTON
VINCENT PRICE
WILLIAM J. SHEFFLER
NORTON SIMON
MRS. KELLOGG SPEAR
MAYNARD TOLL
DR. RUFUS B. VON KLEINSMID
MRS. STUART E. WEAVER, JR.
DR. M. NORVEL YOUNG

HERBERT FRIEDMANN

Director

CHARLES E GEHRING

Assistant Director

STAFF OF THE ART DIVISION

RICHARD E BROWN

Chief Curator of Art

JAMES ELLIOTT

Assistant Chief Curator of Art

EBRIA FEINBLATT

Curator of Prints and Drawings

STEFANIA R HOLT

Curator of Costumes and Textiles

EUGENE I. HOLT

Assistant Curator of Costumes and Textiles

GEORGE KUWAYAMA

Curator of Oriental Art

GREGOR NORMAN-WILCOX

Curator of Decorative Arts

WILLIAM OSMUN

Curator, Administrative Assistant

LARRY CURRY

Research Assistant

HENRY HOPKINS

Curatorial Assistant

FRANCES ROBERTS NUGENT
Instructor in Art

The present exhibition is the third
which the Department of Prints and
Drawings has organized recently
on the basis of collections existing
in Los Angeles, the preceding two
having been Daumier and Pieter
Bruegel the Elder. It is, we feel,
both a pleasure and a duty to uti-
lize and publicize the presence of
outstanding private graphic col-
lections in our area which is con-
tinually developing its interests in
this field.

Harold and Jane Ullman came
upon a painting at the top of the
stairs to a dealer in Paris one night
in 1951, and fell in love with
the artist whose landscape it was.
From that time they became ardent
Rouault collectors to the extent of
acquiring an almost complete rep-
resentation of his graphic work.
Concerned with breadth, they have
achieved scope rather than the spe-
cialization of collecting states or
prints not used for definite editions.
The result of their decade of devo-
tion now makes available to our
community the opportunity of view-
ing a very extensive assemblage of
Rouault's graphic achievement. In
1940. the Museum of Modern Art's
circulating Rouault print exhibition
contained 115 works. The large
Rouault Retrospective of 1953,
organized by the Cleveland Museum

and the Museum of Modern Art,
which came to Los Angeles, included
a total of 87 prints. The present col-
lection, whose comprehensiveness is
increased by the generous contribu-
tions of Mr. and Mrs. Fred Grun-
wald, the Brooklyn Museum, and
the Museum of Modern Art, con-
tains 200 prints, enabling the spec-
tator to see full sets of Rouault's
most important series. The picture
and sequence of Rouault's graphic
work for over almost a quarter of a
century becomes fully documented
before our eyes.

Our debt to Mr. and Mrs. Ullman
for allowing us this opportunity is
great; we are also beholden to
Mr. and Mrs. Fred Grunwald, Los
Angeles; Miss Lna E. Johnson of
the Brooklyn Museum ; and Wil-
liam S. Lieberman of the Museum
of Modern Art.

As is known, a catalogue of the
prints of Rouault does not exist, and
certain questions, not necessarily of
great magnitude, regarding them
cannot always be answered because
of it. Clarification of minor points,
such as titles and chronology, states,
variations, relation to antecedent
works in other media, etc., must
await the appearance of a definite
catalogue raisonne which we hope
will not be long forthcoming. The
present attempt, then, to deal with

Rouault's prints should be viewed
against the absence of full compre-
hensiveness in this particular area
of the study of this great artist.

EF

82. SELF-PORTRAIT WITH CAP. 13 x 10. In the early years in which she knew Rouault, and saw him at the
home of Leon Bloy, Rai'ssa Maritian describes his face as long and pale like some of the Pierrots in his
paintings. Rouault is known to have identified himself with the tragic figure of the clown, a psychological
transfer already made in their own cases by Baudelaire and Daumier.

Georges Rouault, the only French
tragic artist since the Middle Ages,
was born in Paris in 1871, a short
time after the termination of the
Franco-Prussian War. He died in
1958, at the age of eighty-six. In
the course of this long life Rouault
came to assume the position of the
third giant of modern art. To the
great formal innovating movements
of Picasso and Matisse, Rouault
upheld the equally great tradition
of religious subject matter. He thus
in a way completed the triumvirate
which embodies the history of 20th
century art, the break with, and
continuance of, the past.

As the present exhibition is
devoted wholly to Rouault's prints,
we shall limit ourselves generally
to this side of his creative endeavor.

Printmaking came as a rather
late activity in Rouault's life. He
was forty-five in 1916, the period
in which he undertook to etch the
plates of Miserere, and at a point
which marked the end of an impor-
tant phase of his work. After his
early paintings of the '90s, devoted
to traditional rendering of religious
themes, Rouault, on the brink of the
20th century, entered into the new
developing modern art movement.
However from the first he belonged
to no aesthetic group, but in what
we call an expressionistic technique
portrayed figures and themes from

the lower depths of society in a
fierce revelation of his horror at its
evils. Degradation of women, cor-
ruption of law, bourgeois pusilla-
nimity, injustice, oppression,
formed the wellspring of his art. In
Rouault the moral conscience of a
world laid low by poverty and social
ills, the world met in the novels of
Zola, took form and expression. In
Jacques Maritain's picturesque
phrase, Rouault can be said to have
portrayed "the Wound of Sin!'

Rouault must be viewed not only
as a religious artist but as one
forged in the rigorous, absolutist
Jansenist beliefs of such inspired
early 20th century French Catholic
writers as Leon Bloy. This influence
of modern French literary Catholi-
cism was one which Rouault did
not share with his artist contempo-
raries. "Not happy like Matisse" in
the words of Monroe Wheeler, "not
arbitrary or arrogant like Picasso''
the deeply religious Rouault sought
for the resolvement of the problems
of life in the Catholic doctrine. That
he was able, despite this influence
and the opposition of Leon Bloy to
modern art, to develop into his own
social realism and expressionism,
makes clear the vehement force and
impetus of his inner artistic and
spiritual convictions. For the artistic
hopes of evangelical thinkers like
Bloy called for a type of "Pre-

Raphaelite" art which was the
antithesis of Rouault's direction.
Sober and tragic as are many of
Rouault's images, often mournful
and haunted by bitter reflection, his
art remains always permeated with
romanticism, and its powerful color
and emotional intensity inspire
reactions which are perhaps more
aesthetic than ascetic. As a truly
great religious artist, his impact
transcends particularity of creed
just as it may be said that the artist
in him transcended the "monk!'

Rouault's undertaking of print-
making and book illustration came
about as a result of his relationship
with the celebrated dealer and pub-
lisher, Ambroise Vollard (1867-
1939), who acquired the rights to
all of his artistic production at a
time when Rouault's fortunes were
low. One of the great supporters of
modern art, Vollard was a dedicated
print lover whose overriding ambi-
tion was to become a publisher of
great illustrated books. He pub-
lished first in this line Bonnard's
lithographic illustrations to Verlaine
and Longus, having already issued
a portfolio of that artist's litho-
graphs of Parisian life. His desire
to have painters express themselves
as engravers, in the age old tradi-
tion of Europe, led him to commis-
sion albums of prints by most of the
renowned names of contemporary

French art. Picasso's etchings on his
commission, for example, have
come to be known as much as
"Vollard Prints" as by their
original titles. For the greater part,
Vollard selected as texts for illustra-
tion the classics (Homer, Hesiod,
Petronius, Longus) ; the Bible;
fables (La Fontaine) ; French
poetry and literature (Ronsard,
Villon, Mirabeau, Baudelaire, Ver-
laine, Flaubert, Balzac, Mallarme) ;
Russian literature (Gogol) ; Eng-
lish literature and poetry (Thomas
a Kempis, Francis Thompson) ; and
his own writings.

Miserere et Guerre was originally
conceived by Vollard to be accom-
panied by a text by Andre Suares,
but this was never forthcoming, and
Rouault engraved the set of plates
for the volume of Miserere only,
without text except for his own
foreword and brief legends. As the
most monumental suite of prints in
contemporary times, they have,
since their publication in 1948, over
twenty years since first being
printed, assumed a classic place
in graphic art. The complete and
wholly accurate knowledge of the
procedure which Rouault used to
execute these prints may never be
fully known, but they represent one
of the most complicated junctions of
processes in the history of the etch-
ing art. In a revealing letter to Vol-
lard in 1918, while working on the
etchings for the Reincarnations of
Pere Ubu, Rouault wrote, "J'attaque
directement le metal ..." reminding
us that Renoir, too, "always
'attacked' his canvas without the
slightest appearance of preparation!'
(Vollard).

However, in directly cutting into
the metal, Rouault was guided by
an image of his original design

which had been photoengraved on
the plate at the behest of Vollard
who wished to facilitate the work
of a painter who was just beginning
to etch. But Rouault protested,
"...quel damne travail me donner-
ent ces malencontreuses planches...
et j'ai ete oblige de tout reprendre
de bout en bout!' ("...that infernal
work presented me with these
unfortunate plates. ..and I was
obliged to redo everything from the
beginning!') In short, Rouault com-
pletely reworked these mechanically
produced images, using all the
resources and tools of the intaglio
process which he employed in
wholly unorthodox and personal
methods. In his complicated labor
he invoked the name of Rembrandt
who had been able to create his
greatest masterpieces with only an
etching needle or the drypoint. It
has been judged, however, that the
deposit of heliogravure on the plates
enabled Rouault to incorporate the
reproduced plasticity of his original
designs to the enrichment of his
engraving.

The fifty-eight plates of Miserere,
with their burden of mournfulness.
and the artist's refrain of melan-
choly comments upon the recurring
and resembling themes and images,
revolve around the pathos and
suffering of the human condition
engendered by war, the defects of
human nature, the problems of
moral and material evil. There are
also several landscapes of surpass-
ing poetic and dramatic beauty.
The majority of the figures or heads
are shown in profile, many in the
bowed posture characteristic of the
artist who, following the Catholic
creed of man's fall and inherent
evil, presaged hope for him only
within the framework of his redemp-

tion by Christ, his constant image.

On plates, 21 x 18 inches in size,
Rouault combined a variety of
methods, including etching, aqua-
tint, drypoint, the roulette, plus
direct application of acid by brush.
The predominance of black and the
general tonality, with absence of
line, suggest a parallel in effect to
mezzotint or drypoint except for
more varied areas of depth. The
impression created is that the high-
lights have come out of a black
ground. From a distance the effect
of the works is of black ink or
water color drawings; at closer
range becomes visible the juxta-
position, in differing gradations
and layers, of charcoal grey and
velvet blacks with porous aquatint
nets of varying density ; these two
techniques dominate against a
background of bewilderingly varie-
gated texture and structure. The
bold, enveloping strokes, sharp,
violent, rhythmic, and the richness
of surface with its palpable flow
and pattern of the acid bite, made
prints as had never been seen
before. The captions, largely quota-
tions and tag-ends, ranging from
Rouault's own writings, the classics,
and the Bible, to popular proverbs,
form a compelling litany for the
dark music of his somber thoughts
and visionary outlook. Miserere has
been called "our own Disasters of
War."

In 1928, Rouault completed the
etchings, also started ten years
earlier, to illustrate Vollard's own
volume. Reincarnations du Pere
Ubu. Derived from a musical farce
by the poet, Alfred Jarry, Vollard's
Pere Ubu comprises a scathing
comedy satire, with amazing impli-
cations today, on French colonial-
ism. To this is adjoined an equally

biting satire on the Soviet Union in
the form of an interview by Pere
Ubu with Lenin, and a visit to Mos-
cow. Rouault's illustrations for Pere
Ubu consist of twenty-two etchings,
and one hundred and four wood-
engravings in the text, including
head and tail-pieces, cut upon the
block after Rouault's drawings by
the master wood-engraver, Georges
Aubert, whose arduous work here,
and particularly in the later Passion,
was made possible by the construc-
tion for him by Vollard of a special
press operated electrically as well as
by hand.

The Pere Ubu etchings were
executed in the same preliminary
way as Miserere, with combined
intaglio techniques over a photo-
mechanical base. They differ, how-
ever, in exhibiting considerable
linework, which is rarely seen in
Rouault who as a printmaker always
maintained a purely painterly
approach in his effort to attain
values by tone rather than pre-
dominantly by line. In smaller for-
mat than Miserere, the profound
satire of the work is reflected in the
animalistic qualities of many of the
vivid images. Equally remarkable
are the strikingly designed and cut
wood-engravings integrated with
the text, and so expressive of the
strong and humorous characteriza-
tions intended by author and artist.

Although he had already executed
a color lithograph in 1910, Rouault
began the serious practice of lithog-
raphy sometime in 1924. Again self-
taught, he pursued this medium
with the same unorthodoxy evinced
in his etchings. His lithographs
were made, respectively, for the
publisher, E. Frapier, with whom
they became so identified as to be
called Frapier prints; for the

Galerie Quatre Chemins which
issued his color Self-Portrait, and
the set of Petite Banlieue; for Edi-
tions Porteret, which published the
rare illustrations for his own poems.
Pay sages Legendaires ; and for Vol-
lard. Not all of Rouault's litho-
graphs can be said to be equal in
quality of execution and printing.
They range from his superb self-
portraits, and those of Baudelaire
and Verlaine, for example, to less
realized and careless stones from
among the Frapier prints of circus
people, where often greater selec-
tivity would have resulted in smaller
sets of more consistent standard. At
best, and especially when printed
upon smooth Japan, or Arches
paper, the impressions yield admi-
rable tones and textures. As yet, the
complete number of Frapier litho-
graphs by Rouault is unknown.

Petite Banlieue, consisting of six
lithographs, appeared in 1929. It
is a spectral set of scenes of exist-
ence in les faubourgs, the French
workingmen's suburbs with their
forlorn atmosphere of poverty and
abandonment, places which remind
one of "the city of dreadful night!'
Rouault distilled here the very
arrestation of life amid the deserted
streets of hopelessness, loneliness,
and death, at the same time evok-
ing a hushed, mystical note. Petite
Banlieue is among the very finest
of his lithographs. Two sets were
colored by him with pastel, an addi-
tion which reduced the impact of
the black and white. In his Paysages
Legendaires of the same year, not
shown in the exhibition, he tried
to vary his somber themes, but
remained enthralled, as he says in
a poem, by the "fairy Melancholy,"
with the result that the same stark
mood pervades the work.

There is no question but that
Rouault was one of the greatest
colorists, and technicians with pig-
ment, among 20th century artists,
and it was only natural that he
should have turned to color prints.
Although a few color monotypes
and the one color lithograph already
were done in 1910, the rest of his
color plates belong to the later phase
of his printmaking career, from the
decade of the 'thirties, and the
majority were made as book illus-
trations, among them two series
based on circus life.

The figure of the clown is prob-
ably more identified with Rouault
than with any other artist in his-
tory. No artist before had found
such constant inspiration in the
visage and world of the circus per-
former. The appeal and meaning to
him of this figure whom he rendered
nearly always as melancholy, was
complex. But as Monroe Wheeler
has written, "...his [Rouault's]
various types overlap . . . the clown
weeps and the Salvator Mundi
appears lowly as any beggar!'
James Thrall Soby pointed out that
Rouault "...admired clowns for
their itinerant detachment from
worldly affairs, their status as
melancholy witnesses of bourgoeis
corruption, their intense privacy
and specialization of professional
life!' For a half century, Clown and
Pierrot embodied Rouault's disillu-
sionment and protest, his moral in-
dignation, and childlike adoration.

Carl Schniewind indicated in
1945 the difficulty of completely
analyzing the technical processes of
Rouault's color plates because layers
of printed color masked out a good
deal of the actual surfaces. The dif-
ference between Rouault's two cir-
cus sets, in color and technique, is

marked. The eight etchings for the
unpublished book by Andre Saures,
Le Cirque, are undoubtedly the
earlier since several plates are dated
1930 as compared to the dates 1934
and 1935 incised on those of Le
Cirque de I'Etoile Filante. The dif-
fused, though gradated, overlay of
aquatint in Le Cirque gives it an
overall smoky tinting as compared
to its restricted use for outlines and
accents in Le Cirque de VEloile
Filante, where the hues are left
uncovered, and a greater range of
bright juxtaposed colors create
depth and brilliance. Le Cirque is
loose and brushlike in technique;
Le Cirque de FEtoile Filante firmly,
clearly articulated. Lift-ground
aquatint, whose principle is the use
of a ground which lifts from the
plate along the drawn lines when it
is immersed in acid, was employed
as a fundamental process in these
so-called mixed color etchings. A
great part was played by the master
printer, Roger Lacouriere who, in
overcoming the difficulties in han-
dling two or more colors on one
plate (although several color plates
were used for a print), was respon-
sible in no small way for the bril-
liant effects, although at times at
the price of dryness and lack of
spontaneity.

The great publication. Passion,
probably represents the climax of
Rouault's career as printmaker.
With this sympathetic subject by
Andre Saures, the artist was able
again to give vent to those motion-
less iconic images which are so
characteristically his. Executed in
1935-36, Passion with its seventeen
etchings and eighty-two wood-
engravings almost parallels the
Reincarnations of Pere Ubu in
extent of illustrations, and affords

a polar contrast to the worldly con-
tent of the latter. The etchings of
Passion are even richer and more
varied coloristically than those of
Le Cirque de FEtoile Filante; they
exhibit a range of pinks not seen
before, their blacks are heavier and
opaque as compared to other porous
aquatint blacks, and their deep
overlays of color are astoundingly
conceived and printed. In some
cases, the outlines and accents are
so broken as to suggest a woven
tapestry effect, while the flashing
contrast of color zones and massive
blacks make them among the great-
est color prints of Rouault. The
wood-engravings, again impeccably
cut by Georges Aubert. exceed in
clarity and brilliance those of Pere
Ubu with their more satiric, expres-
sionistic character. It is small
wonder that Vollard knew this book
to be unique.

It may seem curious that Rouault,
the so-called "monk" of art, imbued
with "...a purity ... which could
become cruel..!', should have been
attracted to the illustration of Baud-
elaire's Les Fleurs du Mai which,
when they were originally published
in 1857, were immediately banned
by the police of Paris. The project
was commissioned by Vollard who
had already issued two editions of
the poems with illustrations by
Emile Bernard. Rouault prepared a
considerable number of preparatory
drawings, having planned a suite
of at least thirty prints. However,
by 1926-27, he had executed only
fourteen plates, plus a few litho-
graphs. Ten years later Roger
Lacouriere printed twelve mixed
color aquatints for this same title,
the set signed with Rouault's mono-
gram, and dated variously 1936-38.

The twenty-six black ink and

Chinese white drawings by Rouault
for Les Fleurs du Mai, previously in
the collection of Vollard's brother,
Lucien, which appeared on the art
market (Hammer Galleries) in New
York, this year, bore titles of the
poems. The prints of the present
suite were, like some of his sets,
apparently untitled by Rouault, and
they do not, with few exceptions,
seem to bear much resemblance to
the original sketches mentioned
above. The head of Christ in pro-
file (no. 133) is a reverse study of
the same subject in Passion. Our
catalogue no. 138 is apparently
based on the drawing, Remords
Posthume (Hammer no. 9), which
is in turn drawn from the poem of
the same name. Catalogue no. 135
stems from the drawing, Le Portrait
(Hammer no. 19), which is part
IV of Baudelaire's beautiful Un
Fantvme, and begins, "La Maladie
et la Mort font des cendres/De
tout le feu qui pour nous fiamboya!'
Catalogue no. 141 may derive from
the drawing, Le Possede (Hammer
no. 26), but appears to be a charac-
teristic head of Christ, similar again
to the wood-engraving in Passion,
except for the lowered eyes. Baud-
elaire's poem of that name is an
expression of his obsession for his
mulatto mistress, Jeanne Duval.
Rouault's interpretation in this
series of the Fleurs du Mai was
more generalized than in the earlier
one, without specific reference to
the poet's themes or subjects. He
confessed, in his Souvenirs Intimes,
that he had hesitated before enter-
ing the world of Baudelaire with its
thought so opposed to his. His
earlier Fleurs du Mai plates have
been lauded as the promise of "a
masterpiece of macabre art'' and
the fact remains that Rouault's work

through the 'twenties was much
closer to Baudelaire's own spirit
maladif than his so-called "serene"
paintings from the 'thirties onward.

Rouault was drawn to another
poet maudit, Paul Verlaine. of whom
he made a famous lithograph which
exists in several states, and whose
head he apparently used for one of
his studies for the lithograph, 5.
John the Baptist. The earlier por-
trait of Verlaine is dated 1926, the
later one 1933. In this year Rouault
also executed a few large prints on
order of VoUard. Among them, based
on a painting, Les Baigneuses, 1932
(Mr. and Mrs. Alex L. Hillman
collection) was Autumn, whose full
title apparently should be, .iutumn :
Women Bathing. Rouault made a
lithograph and. a few years later,
a color etching of the subject. The
portrait of Hindenburg dates from
this period as does the final study
of the head of S. John the Baptist,
the earlier trial proof itself going
back to 1927. The color etching.
The Bay of Departed Souls, is in
the plate signed and dated 1939.

As has been seen, the greater part
of Rouault's graphic work was
undertaken as book illustration, that
is, as prints illustrating a text. even,
originallv. those of the greatest
size. Miserere. In Souvenirs Intimes.
1927. Rouault illustrated his own
text with portrait lithographs of
artists and writers to ^vhom he paid
tribute. His Garnets de Gilbert,
1931. illustrating the text by Marcel
Arland. the romantic journal of a
young man, consist of a lithograph
frontispiece, and eight color prints
whose technique has been disputed.
Called facsimiles of gouaches, in
the Museum of Modern Art's cata-
logue (1945), they were recently
reinstated as original mixed etch-

ings in Harvard College's The
Artist and the Book: 1860-1960,
on the basis of the colophon of the
book. They are there, however, not
called eaux-fortes, but gravures en
taille-douce, and they appear to be
the result of very complicated and
mixed printing.

As book illustrator, Rouault
comes immediately after Picasso in
productivity. His graphic work does
not manifest the many phases of
the latter, however. .4fter his
powerful, expressionistic period
from about 1904-17, which well
may be his most eloquent. Rouault's
art came gradually to assume a dif-
ferent character. The forcefully
emotional, passionate execution of
his early works, the style incom-
prehensibly called "dark!' or "ugly'"
was absorbed into one which might
be called "neo-Byzantine" and "neo-
Romanesque" with preponderance
of iconic type figures rendered in
a heavy, rich and glowing impasto.
and use of massive black enclosing
and articulating strokes and accents,
so often likened, with justice, to the
leading of stained glass. And as his
earlier protest was placated by
purely poetic renderings of spiritual
themes, we have the Rouault of the
last, abstract and transcendental
period.

Rouault's printmaking coincided
with the inception of this second
stvle. and hence we are deprived
of prints which might have reflected
his earlier expressionistic tendencies
rather than the more contemplative
ones of his middle period. In the
first decade of his absorption with
prints he appears to have done little
painting, and it has been said that
his graphic activitv influenced his
painting when he resumed it. for
example, in a reflection of the cur-

sive rhythms of Miserere, the color
harmonies and pictorial forms of
the color etchings, and "a new tech-
nical fluencv"' Reciprocally, it can
be said that no graphic artist was
more painterly in his approach than
Rouault. The Miserere emerge, in
effect, as complete monochromatic
"paintings" as well as carefully
incised and bitten etchings. The
artist transcended all limitations of
size, and all the detail of traditional
printmaking in this epic set whose
visual power and impact are as
complete and compelling across a
room as its surface values at closer
range. Thus, prints and paintings
are intimatelv tied together, in
Rouault's case, in stvle. subject and
phase. Unlike Picasso who illus-
trated books in his classical style
while painting in diverse manners,
unity of expression underlies Rou-
ault's dual labor in oil and on the
copper plate.

Rouault's subject matter was
explored relativelv earlv in his
career. After \^orld ^ar I he aban-
doned his largely expressionistic
means and realistic themes in favor
of an intensely vibrant, impression-
istic palette, and subjects, whether
religious or otherwise, imbued with
the spirit of "moral pathos"' This
change in the direction of spiritual
humility and peace was counter-
posed, as it were, by the striking
unorthodoxy and discovery of his
graphic means, not found in Picasso
and Matisse. Unlike them, he gave
himself over to a great extent to
color in prints, and to its most com-
plicated application, in that of etch-
ing and aquatint. By his freedom
and imagination, his spirit and
\"ision. in the processes of intaglio,
there would seem to be no question
but that Rouault pioneered in the

liberation of traditional print tech-
niques which led directly to the
"new ways of gravure!' and ensuing
renascence which has and will con-
tinue to enrich modern and con-
temporary graphic art.

Ebria Feinblatt

' Detail from 101. NEGRO WITH UPRAISED ARMS. 12 x 6. Said
to have been his first, or trial, plate of the series.

QUI NESE GRIME PAS?
himself a face?)

Who does not paint

11. DEMAIN SERA BEAU, DISAIT LE NAU-
FRAG£ (Tomorrow will be fine, said the ship-
wrecked man)

12. LE DUR METIER DE VIVRE ,

live...)

. ( It is hard to

19. SON AVOCAT. E\ PHRASES CREUSES,
CLAME SA TOTALE INCONSCIENCE . . . (His
lawyer, in hollow phrases, proclaims his entire
unawareness . . . )

29. CHANTEZ MATINES, LE JOUR RENAlT

(Sing Matins, a new day is born)

33. "ET V£RONIQUE AU TENDRE LIN PASSE
ENCORE SUR LE CHEMIN . . ." (And Veron-
ica with her delicate linen still goes her way . . .)

38. CHINOIS INVENTA, DIT-ON, LA POUDRE A
CANON, NOUS EN FIT DON (Chinese invented
gunpowder, they say, and made us a gift of it)

44. MOX DOUX PAYS. OU £TES-VOUS? i_My
sweet homeland, what has become of vou?)

49. "PLUS LE COEUR EST \OBLE. MOI\S LE
COL EST ROIDE" ("The nobler the heart, the
less stifF the collar")

55. L'AVEUGLE PARFOIS A CONSOLfi LE VOY-

ANT (Sometimes the blind have comforted those
who see)

64. WE SHALL BE GOOD (also called Ideal).
state, 193^x 13

4th

65. ACROBAT (also called Eire Dempsey). Trial
proof, 2nd state, 20 x 13. Despite its titles, the
print does not necessarily represent a circus
performer, and may have another meaning.

67. THE WRESTLERS (also called Parade). Trial
proof, 2nd state, 193^ x 1234

77. THE ANIMAL TRAIXER.
state; on Arches, 193^^x13

Trial proof. 1st

80. CHRIST ON THE CROSS, 1925. 2nd state, 193^ x I234. The print, according to M. Dormoy, is from the

album, Peintres et Graveurs, ed. Frapier, and she calls it Rouault's first lithograph. For a later variant, see
No. 122. The subject of the dead Christ on the cross was of course one of the artist's most abiding images, and
is seen for the first time in his painting of 1918, the Crucifixion, in the Mcllhenny collection, Philadelphia.

81. BAUDELAIRE, 1927. 2nd state, 193/^ x 12%. With remarque. In the second edition of Souvenirs Intimes,
Rouault added this portrait of the poet, but the present print is from a separate issuance. In 1947, Rouault
wrote: "Baudelaire received . . . two thousand francs for the translation of the five volumes of Edgar Allan Poe.
Once his former debts had been paid off. there remained to him of the sum, one golden louis. Yet what must
the five volumes . . . have brought to the editor? Knowing this, one can explain better Baudelaire's magnificent
and tragic mask, his mouth which looks like a swordcut, and his wild look ..."

119. SELF-PORTRAIT. 1929. Lithograph in color, 135/g x 9%. Signed and numbered. Published by Editions
Quatre Chemins. Of Rouault's three self-portraits in lithograph (two with cap), the present one is the most
celebrated. Lent by the Brooklyn Museum.

NOTE:

Dimensions for intaglio prints given in inches to plate-
mark; those for lithographs include the full page.
Unless otherwise noted, all prints are from the collec-
tion of Harold P. and Jane F. Ullman.

1.-58. MISERERE, 1916-1927. Fifty-eight prints,
predominantly etching and aquatint. Plate size,
21 X 18. Published in 1948 in an edition of four
hundred and fifty. Early trial proofs were issued
in an unpublished portfolio by Vollard. The
present titles are the final ones decided upon by
Rouault from earlier variations. The translations
are from M. Wheeler, Miserere, Museum of Mod-
ern Art, 1952.

1. MISERERE MEI, DELS, SECUNDUM MAG-
NAM MISERICORD! AM TUAM ("Have mercy
upon me, 0 God, according to Thy loving kind-
ness!' Psalms 51 :1 )

2. J£SUS HONNI . . . (Jesus reviled . . . )

3. TOUJOURS FLAGELLE...( Eternally scourged

4. SE RfiFUGIE EN TON COEUR, X'^^-NU-PIEDS
DE MALHEUR (Take refuge in your heart, mis-
erable vagabond )

5. SOLITAIRE, EN CETTE VIE DTMBUCHES
ET DE MALICES (Lonely sojourner in this life
of pitfalls and malice)

6. NE SOMMES-NOUS PAS FORCATS? (Are we
not all convicts ? )

7. NOUS CROYANT ROIS {We think ourselves
kings )

* 8. QUI NE SE GRIME PAS? (Who does not paint
himself a face?)

* ILLUSTRATED

9. IL ARRIVE PARFOIX QUE LA ROUTE SOIT
BELLE . . . (Sometimes the way is beautiful . . .)

10. AU VIEUX FAUBOURG DES LONGUES
PEINES (In the old suburb of Long-Suffering)

*11. DEMAIN SERA BEAU, DISAIT LE NAU-
FRAG£ (Tomorrow will be fine, said the ship-
wrecked man)

* 12. LE DUR METIER DE VIVRE . . . ( It is hard to
live . . . )

13. IL SERAIT SI DOUX D'AIMER (It would be
sweet to love )

14. FILLE DITE DE JOIE (Daughter of joy. so-
called )

15. EN BOUCHE QUI FUT FRAICHE. GOUT DE
FIEL (Mouth that was fresh, bitter as gall)

16. DAME DU HAUT-QUARTIER CROIT PREN-
DRE POUR LE CIEL PLACE RESERVEE ( The
Society Lady fancies she has a reserved seat in
heaven )

17. FEMME AFFRANCHIE, A QUATORZE
HEURES. CHANTE A MIDI (Emancipated
woman, who has lost her way)

18. LE CONDAMNE S'EN EST ALLE ... (The con-
demned is led away . . . ) A later variant of this
plate, signed and dated 1930 is also shown.

^- 19. SON AVOCAT. EN PHRASES CREUSES.
CLAME SA TOT\LE INCONSCIENCE . . . ( His
law^-er, in hollow phrases, proclaims his entire
unawareness . . . )

20. SOUS UN JESUS EN CROIX OUBLIE LA
(Beneath a forgotten crucifix)

21. "IL A £T£ MALTRAITfi ET OPPRIME ET IL
N'A PAS OUVERT LA BOUCHE" ("He was
oppressed, and he was afflicted, yet he opened not
his mouth!' Isaiah 53 :27 t

22. E\ TAXT D^ORDERES DIVERS. LE BEAU
METIER D'EXSEMENCER UNE TERRE
HOSTILE ( In so many different ways, the noble
vocation of sowing in hostile land)

23. RUE DES SOLITAIRES (Street of the Lonely)

24. "HIVER LfiPRE DE LA TERRE" ("Winter,
leper of the earth" )

25. JEAN-FRANCOIS JAMAIS NE CHANTE AL-
LELUIA.. . ( Jean-Frangois never sings alle-
luia . . .)

26. AU PAYS DE LA SOIF ET LA PEUR ( In the

land of thirst and terror)

27. SUNT LACRYMAE RERUM. . . ("In all things,
tears". . .Virgil. Aeneid I)

28. "CELUI QUI CROIT E.\ MOI, FUT-IL MORT.
VIVRA" ("He that believeth in me, though he
were dead, yet shall he live". . . John 11 :25)

29. CHANTEZ MATIXES, LE JOUR RENAfT
(Sing Matins, a new day is born)

30. "NOUS . . . C'EST EN SA MORT QUE NOUS
AVONS ET£S BAPTISES" ("Know ye not. that
so many of us as were baptized into Jesus Christ
were baptized into his death?" Romans 6:3)

31. "AIMEZ-VOUS LES UNS LES AUTRES"
("That ye love one another". . . John 13:34)

32. SEIGNEUR. C'EST VOUS. JE VOUS RECON-
NAIS (Lord it is Thou. I know Thee)

33. "ET VERONIQUE AU TENDRE LIN RASSE
ENCORE SUR LE CHEMIN . . ." (And Veron-
ica with her delicate linen still goes her way . . . )

34. "LES RUINES ELLES-MEMES ONT PERI"
("They have ruined even the ruins" Lucian:
Phmcale IX. 969)

35. "JESUS SERA EN AGONIE JUSQU'A LA FIN
DE MONDE . . ." ("Jesus wiU be in anguish un-
til the end of the world . . ." Pascal: Pensees)

36. CE SERA LA DERNIERE, PETIT PERE! (This
will be the last time, little father ! )

37. HOMO HOMINI LUPUS ("Man is wolf to man"
Plautus: Asinaria II, 4, 88)

* 38. CHINOIS INVENT.\. DIT-ON. LA POUDRE A

CANON, NOUS EN FIT DON ( Chinese invented
gunpowder, they say. and made us a gift of it)

39. NOUS SOMMES FOUS (We are insane)

40. FACE A FACE (Face to face)

41. AUGURES (Portents)

42. BELLA MATRIBUS DETESTATA ("War,
which all mothers hate]' Horace: Odes I. 1. 24-
25)

43. "NOUS DEVONS MOURIR. NOUS ET TOUS
CE QUI EST NOTRE" (""^e must die, we and
all we possess." Horace: Ars Poetica, 63)

* 44. MON DOUX PAYS, OU ETES-VOUS? (My

sweet homeland, what has become of you ? )

45. LA MORT L'A PRIS COMME IL SORT\IT DU
LIT D'ORTIES (Death took him as he arose
from his bed of nettles )

46. "LE JUSTE. COMME LE BOIS DE SANT:\L.
PARFUME LA HACHE QUI LE FRAPPE"
( "The righteous, like sandalwood, perfume the
axe that falls on them")

47. "DE PROFUNDIS..." ("Out of the depths
[have I cried unto thee, 0 Lord]" Psalms 129:1 )

48. AU PRESSOIR. LE RAISIN FIT FOULE ( In

the press, the grapes were trodden )

* 49. "PLUS LE COEUR EST NOBLE. MOINS LE

COL EST ROIDE" ("The nobler the heart, the
less stiff the coUar")

50. "DES ONGLES ET DU BEC i "With tooth and
nail!' Guillaume de Salluste: 1st week, 2nd day I

51. LOIN DU SOURIRE DE REIMS (Far from the
smile [of the angel] of Rheims)

52. DURA LEX SED LEX ( The law is hard, but it
is the law)

53. VIERGE AUX SEPT GLAIVES ( Virgin of the

seven swords)

54. "DEBOUT LES MORTS!" ("Arise, ye dead!")

* 55. L'AVEUGLE PARFOIS A CONSOLE LE VOY-

ANT (Sometimes the blind have comforted those
who see)

56.

57.

58.

59.

59.
59.

60.

61.

62.

63.

^- 64.

65.
* 65.

66.

EN CE TEMPS XOIRS DE JACTAXCE ET
D'lXCROYAXCE. XOTRE-DAME DE LA FIX
DES TERRES VIGILAXTES (In these dark
times of vainglory and unbelief. Our Lady of
Land's End keeps vigil )

'■OBEISSAXT JUSQU'A LA MORT ET A LA
MORT DE LA CROIX" ("Obedient unto death,
even the death of the cross," Philippwns 2:8)

"C'EST PAR SES MEURTRISSURES QUE
NOUS SOMMES GU£RIS" ("And with his
stripes we are healed" Isaiah 53 :5)

■ 78. THE FRAPIER PRIXTS, c.1924-27. The
lithographs issued by E. Frapier were apparently
all signed by Rouault ; they also bear stamps indi-
cating their states. Several of them appeared
in books published by Frapier, Les Peintres-
Lithographes de Manet a Matisse (1925) ;
Maitres et Petit-Maitres d'Aujourd'hui (1926) ;
and Souvenirs Intimes (1926). Two of his main
series of Rouault's lithographs were Demagogie
(also called Grotesques), and Cirque Forain, but
he also published a few individual prints of dif-
ferent subjects.

-64. DEMAGOGIE, 1924^26

CITIZEN GASPARD: THE FUTURE IS OURS.
Trial proof, 1st state; on Arches, 191/2x13

WE WILL BE STRONG (also caUed Grotes-
ques). Second state, 19%xl3

TWO PROGXOSTICATORS. (Also called Con-
fidences) Trial proof, 2nd state, 19% x 13

M' MOCHE. Trial proof, 2nd state, 193/^^x13

THE ASS: FULL HAXDS TO THE IXXO-
CENT. WE SHALL BE WISE (also called The
Charlatan). 2nd state, 19%xl3

WE SHALL BE GOOD (also called Ideal). 4th
state, 193/^ X 13

-78. CIRQUE FORAIN, 1924^27

ACROBAT {also called Etre Dempsey) . Trial
proof, 2nd state, 20x13. Despite its titles, the
print does not necessarily represent a circus
performer, and may have another meaning.

THE JUGGLER. Trial proof, 3rd state, 193^ x
12%- A favorite image, recurring several times

in Rouault's prints.

<' 67. THE WRESTLERS (also caUed Parade). Trial
proof, 2nd state, 193/j^ x 123^

68. ANITA (also called Belle Etelka) . Trial proof,
1st state, 19% x 123^

69. THE LITTLE DANCER (also called Seated
Equestrienne) . Trial proof, 2nd state, 19% x
123/4

70. THE BOXERS (also called Boniment des
Clown). 4th state, 1934 x 123/^

71. FEMALE CLOWN AND ACROBATS (also
called Female Clown). Trial proof, 3rd state,
19%xl2%

72. TRIO. Trial proof, 2nd state, 1934 x 123/^

73. PARADE. 3rd state, 193/4x1234. (From the
series, Maitres et Petit-Maitres d'Aujourd'hui)

74. STANDING EQUESTRIENNE. 3rd state,
1934 X 123/^

75. CLOWN. 2nd state, 193^ x 123/4

76. CARMENCITA. Trial proof, 2nd state, 1934x

12%

* 77. THE ANIMAL TRAINER. Trial proof, 1st
state; on Arches, 19%xl3

78. THE PROSTITUTE. (Also called Etelka) 2nd
state, 193/4 X 123/4

79.-81. SINGLE FRAPIER PRINTS

79. THE BILBOUQUET PLAYER, 1924-27. 4th
state; on Arches, 19'; g x 13. The significance of
this staring, empty-faced, mechanical image has
not been made clear unless Rouault was trying to
satirize the puppet-like character of the game-
player.

» 80. CHRIST ON THE CROSS, 1925. 2nd state,
193/4x123/4. The print, according to M. Dor-
moy, is from the album, Peintres et Graveurs,
ed. Frapier, and she calls it Rouault's first litho-
graph. For a later variant, see No. 122. The
subject of the dead Christ on the cross was of
course one of the artist's most abiding images,
and is seen for the first time in his painting of
1918. the Crucifixion, in the Mcllhenny collec-
tion, Philadelphia.

81. BAUDELAIRE, 1927. 2nd state. 1934x12%.
With remarque. In the second edition of Souve-
nirs Intimes, Rouault added this portrait of the
poet, but the present print is from a separate
issuance. In 1947. Rouault wrote: "Baudelaire
received . . . two thousand francs for the transla-
tion of the five volumes of Edgar Allan Poe.
Once his former debts had been paid off, there
remained to him of the sum, one golden loiiis.
Yet what must the five volumes . . . have brought
to the editor? Knowing this, one can explain
better Baudelaire's magnificent and tragic mask,
his mouth which looks like a swordcut. and his
wild look ..."

82.-87. SOUVENIRS INTIMES. 1927

82. SELF-PORTRAIT WITH CAP. 13 x 10. In the

early years in which she knew Rouault. and saw
him at the home of Leon Bloy, Raissa Maritian
describes his fac€ as long and pale like some of
the Pierrots in his paintings. Rouault is known
to have identified himself with the tragic figure
of the clown, a psychological transfer already
made in their own cases by Baudelaire and
Daumier.

83. ANDR£ SUARES (1886-1948). 13x10. Pro-
lific writer, he was the author of two texts illus-
trated by Rouault. Z,e Cirque and Passion. A close
friend of the artist, he was at one time one of
the few to know where the secretive Rouault lived
in Paris.

84. GUSTAVE :\IOREAU WITH SMALL HAT.

13 x 10. Moreau ( 1826-1898 ) , for several years
director of the Ecole-des-Beaux-Arts. was the
first great influence upon Rouault. After his mas-
ter's death. Rouault became curator of the Gustave
Moreau Museum, a post he held for many years.

85. MOREAU WITH WHITE BEARD. 13 x 10.

86. L£ON BLOY ( 1846-1917 ) . 13 x 10. Impassioned
Catholic writer and novelist, who influenced
Rouault spiritually but disagreed violently with
his aesthetic. It is believed that Rouault's early
watercolors of prostitutes derived from a focus
set by Bloy's novels on the subject.

87. J. K. HUYSMANS. 13x10. The celebrated
author of .4 Rebours. who was a friend of Rouault

in the early j-ears of the century, after his con-
version to Catholicism.

88.-90. LES FLEURS DU MAL. 1926-27. First
project. The etchings for the first set of Les Fleurs
du Mai were printed '"chez Madame Jacquemin."
the wife of the printer of Miserere. In power,
these heavily black outlined images, with their
variegated surfaces, rank with the set of Mise-
rere. They, too, were executed on photo-engraved
plates, two examples of the unfinished work
shown here (nos. 89-90).

* 88. HEAD. 1926. Etching and aquatint, 14 x IOI4.
Signed and dated in the plate. Lent by Mr. and
Mrs. Fred Grunwald

89. HEADS, 1926-27. Heliogravure in black.
1411'j^g x 7lg. L nfinished plate. Unsigned. Lent
by the ^luseum of Modern Art, gift of Patti
Garnell Cadby

90. CHERUB. 1926-27. Heliogravure in black.
1434x1078. L nfinished plate. Unsigned. Lent
by the Museum of Modern Art, gift of Patti
Garnell Cadby

91. 113. REINCARNATIONS DU P£RE UBU.
1928. The twenty-two etched plates executed for
this work by Rouault, were also issued hors texte
on Arches. Rives, japan nacre, and holland papers.
The present set belongs to the edition of 25 on
japan nacre. The large volume itself was pub-
lished in 1932. although the plates were consid-
ered finished and so dated in 1928. after many
vears of preparation.

91. FRONTISPIECE. 1134x8

92. MAN IN PITH HELMET. 12x7%

93. MAN WITH TOP HAT. 1134x71/2

94. MAN WITH MUSTACHE AND GLASSES,
SMILING. 113.^x71/2

95. MAN IN PROFILE. I01/2 x 7

96. PEDAGOGUE. 12x7

97. THE HIDEOUS WOMAN. m'8-x734

* 97a.THE HIDEOUS WOMAN, 1916. Early trial
proof, 1134x734. GR and date lightly etched
at right (Cf. gouache and watercolor study.
No. 200 I

98.

99.

100.

* 101.

102.

* 103.

104.
105.

106.

* 107.
•>> 108.

109.
110.

111.
112.
113.

113.
114.

115.
116.
117.

118
119

NEGRO PORTER. 81/2x12

ADMINISTRATOR. IOV2 x 634

FRONTISPIECE (another version of no. 91,
darkened ) , 11% x 7%

NEGRO WITH UPRAISED ARMS. 12 x 6. Said
to have been his first, or trial, plate of the series.

YOUNG GIRL. 10 x 61/2

LANDSCAPE WITH WOMAN CARRYING A
PITCHER ON HER HEAD (also called Land-
scape with Road). Il%x7i4
NEGRESS IN PROFILE. 12^/4x8

THE PRESIDENT OF THE INTERNATIONAL
LEAGUE FOR THE RIGHTS OF WOMEN.

1134x7

FLYING DRAGON. 8V2 x I214

THE LOVERS. I214 x 83/^

TWO WOMEN IN PROFILE. 103^ x 71/2

WOMAN WITH NECKLACE. 10x6i/2

MAN WITH MUSTACHE AND GLASSES,
SMILING. 12 X 7%. Variant of No. 94.

SEATED FEMALE NUDE. 10 xes/^

FEMALE NUDE, FACING RIGHT. 111/2x8

-118. PETITE BANLIEUE, 1929. A series of 6
lithographs in black and white published by
Editions Quatre Chemins, Paris. 100 sets were
issued, two hand colored by Rouault. They were,
as far as is known, untitled.

STREET SCENE, Ux8%

WORKER AND CHILD. 13x83^. Similar to
the painting. In the Suburbs (J. Lassaigne,
Rouault, Skira, 1951, PL I)

WAITING. 13x83/4

FA NIENTE. 13 x 834

BURIAL OF HOPE. 13x83^. (Also called
Pantin) . A gouache of the same subject, dated
1929, is in the collection of G. David Thompson,
Pittsburgh.

STREET OF THE FUTURE. 13x83/^

-123. SINGLE PRINTS, 1929-1932.

119. SELF-PORTRAIT, 1929. Lithograph in color,
13% x 9%. Signed and numbered. Published by
Editions Quatre Chemins. Of Rouault's three self-
portraits in lithograph (two with cap), the pres-
ent one is the most celebrated. Lent by the Brook-
lyn Museum.

120. THE JUGGLER, 1929. Black and white litho-
graph, 13x93^. Publisher unknown. Signed and
dated in reverse on the plate.

121. THE JUGGLER, 1929. Lithograph in color,
13%xll. The same subject as the preceding,
but with added color.

122. CHRIST ON THE CROSS, 1932. Black and
white lithograph, 191/8 x I234. Signed and dated
on the plate. Publisher unknown. Cf. No. 80.

123. HEAD OF VERLAINE AS S. JOHN THE
BAPTIST. Black and white Hthograph, 24x173^.
Publisher unknown. Unsigned and undated, the
subject was apparently a trial which was relin-
quished. As an early lithographic sketch for
5. John the Baptist is dated 1927 (Cat. No.
162) and the final version 1933, this print may
fall just before or in between these dates.
Undescribed.

124.-131. Le Cirque (1936-1938?). Eight mixed
color etchings on laid paper, illustrating a text by
Andre Suares, which has remained unpublished.
Some confusion reigns in their dating. Johnson
(1944) gave 1934-35 as the years for the com-
pletion of the prints which were issued, accord-
ing to her, in [1936]. In the Museum of Modern
Art's exhibition (1945), the date of publication
was given as 1938; in its Rouault Retrospective
(1953), the date was published as 1930. The
year which appears on the plate of several of the
etchings is 1930. It is interesting to note that
in 1927 Chagall had finished nineteen gouaches
also for Suares' unpublished Le Cirque.

124. BALLERINA. 12x8.

' 125. PARADE. 11% x IOI/2. (Also called Clowns and
Ballerina, Clowns and Clowness, the subject is
essentially the same as No. 73)

126. YELLOW CLOWN WITH DOG, 1930. 133^x10

127. CLOWN AND CHILD, 1930. 1214x814

128. CLOWN WITH DRUM. I214 x 814

129. SEATED CLOWN, 1930. 123/4 x 9

130. JUGGLER, 1930. 1214x81/2

131. AMAZON, 1930. 113/^x9. (Also called Eques-
trienne)

132.-143. LES FLEURS DU MAL (Second set),
1936-37. Twelve etchings with aquatint, printed
by Roger Lacouriere on Rives laid paper, in an
edition of two hundred and fifty in color, and
fifty in black alone. The terminal date given from
them sometimes varies from 1937 to 1939, but the
plates themselves are dated 1936-38.

FEMALE BUST, FRONT VIEW, 1937. 12x83^.
(Also called Old Courtesan)

CHRIST IN PROFILE, 1937. 121/2x81/2

THREE PERSONS, 1938. 12x83/4

THE PORTRAIT, 1937. 12x81/2

MAN IN 18TH CENTURY DRESS, 1937.
121/4x81/2

KNEELING NUDE, 1936. 121/4x81/1

POSTHUMOUS REMORSE, 1936. 1134x814.
(Also called Tomb of Baudelaire)

THE JUDGES, 1938. 1214x814. (Also called
Face to Face)

PROUD WOMAN, 1938. 121^x814. (Also
called Young Courtesan)

HEAD OF CHRIST (THE POSSESSED?),
1938. 113/4x81/2

LANDSCAPE, 1938. 121/2x814

THREE CROSSES, 1938. I214 x 8%

-162. LE CIRQUE DE L'ETOILE FILANTE,
1938. Seventeen mixed color etchings illustrating
Rouault's own text. The plates are dated 1934 or
1935. In the reflective pages of this volume in
which Rouault reveals his vivid sympathy for the
inhabitants of the half-real, half-dreamlike world
of the circus, are found many of the expressions
which serve as captions for Miserere.

144. FRONTISPIECE: PARADE, 1934. 12 x 73/4.

145. BLACK PIERROT, 1935. 12x81/4

132.

133.
134.
135.
136.

* 137.
138.

* 139.

* 140.

141.

142.
143.
144.

146. AMER CITRON, n.d. 1214x81/4

* 147. LITTLE DWARF, 1934. 12x81^
148. JUGGLER, 1934. 1214x814

* 149. LITTLE EQUESTRIENNE, 193 (). 121/4x81/2

150. MADAME LEUISON, 1935. 1214x81/2

151. WEARY BONES. 1934. 1214x8

* 152. MADAME CARMENCITA, 1935. I214 x 8I/2

153. YOUNG TROOPER. 1935. 121/4x81^

154. MASTER ARTHUR, 1934. 12x8

155. BITTER-SWEET, 1934. 1214x8

156. LE RENCH£RI, 1935. 121^x814

157. PIERROT, 1935. 12x81/2

* 158. THE BALLERINAS, 1934. I21/4 x 8

159. AUGUSTE, 1935. I214 x 8I/2

160. SLEEP, MY SWEET, 1935. 1214x81/2

161.-166. SINGLE VOLLARD PRINTS, 1926-39.
VoUard is known to have commissioned Rouault
to execute individual prints during the decade of
the 'thirties. They have not all as yet been fully
described, and that the artist already was at
work in the 'twenties on some subjects is proved
by the existence of proofs from that period.

* 161. PORTRAIT OF VERLAINE, 1926. Black and

white lithograph, 243/4 x 1814- Inscribed by the
artist: No. 22— Esquisse Verlaine— Premier tirage
a 30 epreuves— G. Rouault, 1926.

162. S. JOHN THE BAPTIST, 1927. Black and white
lithograph, 17%x24. Inscribed by the artist:
No. 9 tire a 30 Epreuves— Esquisse du S. Jean
Baptiste 1927— Georges Rouault. Lent by Mr. and
Mrs. Fred Grunwald, Los Angeles.

163. PORTRAIT OF VERLAINE, 1933. Black and
white lithograph, 24% x 19. Inscribed by the
artist: Verlaine —2'^ tirage 1933— Georges Rou-
ault. According to Johnson 172 there are four
known states.

164. S. JOHN THE BAPTIST. 1933. Black and white
lithograph, 22 x 28% on laid paper with water-
mark Ambroise Vollard. Inscribed by the artist:
S. Jean Baptiste — 1933 — 2* tirage — Georges

168.

169.

Rouault. (Johnson 174)

165. PORTRAIT OF VON HINDENBURG, 1933.
Black and white lithograph. 25% x 173^. Signed
GR in the plate. (Johnson 173)

166. AUTUMN, 1933. Black and white lithograph,
22x29. Inscribed by the artist: 2" tirage —
Automne — a 60 ex. Georges Rouault 1933.
According to Johnson 171. there are seven known
states.

167. AUTUMN (1936). Color etching and aquatint,
20x25%. Signed: Georges Rouault in ink at
lower right. This and the preceding lithograph
show the artist carrying out in two different tech-
niques a subject already executed as a painting
(cf. p. 9).

THE BAY OF DEPARTED SOULS, 1939. Color
etching and aquatint, 24x171/2- Signed and
dated in the plate. Possibly a subject taken from
the artist's text for Le Cirque de I'Etoile Filante,
p. 10.

-186. PASSION, 1939. Seventeen mixed color
etchings hors texte, and eighty-two wood engrav-
ings illustrating the text by Andre Saures. The
etchings date between 1935-36, the wood engrav-
ings 1934-36, but the volume was printed in
1939.

169. FRONTISPIECE. 121/4x87/^

170. CHRIST OF THE OUTSKIRTS (pi. 1). 12x81/2

171. ASSISTANT EXECUTIONER CARRYING
PART OF THE CROSS (pi. 2). 12x8

172. TWO MEN, ONE BEING LED (pi. 3).

131/4x91/2

173. CHRIST TAKING LEAVE OF HIS MOTHER
(pi. 4). 121/2x81/2. (Also called Veronica.)

174. CHRIST AND THE CHILDREN (pi. 5).
12x81/2

175. ECCE HOMO (pi. 6). 12%x8i4

176. ASSISTANT EXECUTIONER CARRYING
PART OF THE CROSS (pi. 7). 121/2x9

177. CHRIST WITH CROWN OF THORNS (pi. 8).

121/4x87/8

178. CHRIST IN PROFILE, FACING LEFT (pi. 9).

121/2 X 81/2

179. JUDAS (pi. 10). 121/4x81/2

180. STANDING MAN IN PROFILE, reading (pi.
11). 121/4x81/4

180a.STANDING MAN IN PROFILE, READING.
Signed trial proof for the preceding print,
123/4x81/4

181. WOMAN IN PROFILE (pi. 12). 1214x81/2

182. CHRIST AND PILGRIMS (pi. 13). 121^x87/8

183. CHRIST AND THE DOCTORS (pi. 14).
121/4 X 8I/2

184. CHRIST AND THE DISCIPLES (pi. 15).
12x87/8

185. ASSISTANT EXECUTIONER CARRYING
PART OF THE CROSS (pi. 16). 121/4x81/2

186.- 199. Fourteen wood engravings from the text, all
thru measuring 1134 x7%.

DRAWING

200. THE HIDEOUS WOMAN, 1918, Watercolor and
gouache. 11% x 71/2- Signed at lower right, with
the date in different ink. Study for the etching
(No. 97/97a, Reincarnations due Pere Ubu). If
the date 1916 is correctly read on No. 97a, the
present work may be incorrectly dated. Los
Angeles County Museum, Gift of George Keller.

201. SOUVENIRS INTIMES, Paris, E. Frapier, 1927.
One of 350 copies, with six lithographs in black;
signed by Rouault and Frapier on the verso of
the half-title ; page size 125/^^ x 934

* 202. GARNETS DE GILBERT, Paris, N[ouvelle]
R[evue] F[ran5aise], 1931. One of 180 copies
on Arches wove paper, containing lithographed
frontispiece in black, and eight mixed prints,
three in black, one in sepia, and four in color;
page size 111/4 x 71/2

203. REINCARNATIONS DU P£RE UBU, Paris,
Ambroise VoUard, 1932. No. XV of the 30 hors
commerce copies numbered with Roman letters;
on Vidalon paper, with one etching (Frontis-
piece) on Ambroi.se VoUard. the others on Arches
and Rives paper; page size 171/4x131/4; and
including 104 wood-engravings cut by George
Aubert.

204. CIRQUE DE L'ETOILE FILANTE, Paris,
Ambroise Vollard, 1938. One of 215 copies on
Montval laid paper, containing eighty-two wood-
engravings cut by Georges Aubert; page size
1714x131/4; seventeen mixed color etchings
hors texte.

205. PASSION, Paris, Ambroise Vollard, 1939. One
of 245 copies on Montval laid paper, containing
seventeen mixed color etchings hors texte, printed
by Roger Lacouriere; and eighty-two wood-
engravings cut by Georges Aubert and printed
by Henri Jourde. Of this volume Vollard
remarked to the author, Suares, "Such books
have never been produced before, and never will
be again!'

83. ANDR£ SUARfiS ( 1886-1948 ) . 13 x 10. Prolific writer, he was the author of two texts illustrated by RouaulL
Le Cirque and Passion. A close friend of the artist, he was at one time one of the few to know where the
secretive Rouault lived in Paris.

HEAD, 1926. Etching and aquatint, 14x1014.
Signed and dated in the plate. Lent by Mr. and
Mrs. Fred Grunwald

200. THE HIDEOUS WOMAN, 1918, Watercolor and
gouache, 11% x 71^. Signed at lower right, with
the date in different ink. Study for the etching
(No. 97/97'a, Reincarnations due Pere JJbu). If
the date 1916 is correctly read on No. 97a, the
present work may be incorrectly dated. Los
Angeles County Museum, Gift of George Keller.

97a.THE HIDEOUS WOMAN, 1916. Early trial
proof, 1134x734. GR and date lightly etched
at right (Cf. gouache and watercolor study,
No. 200)

103. LANDSCAPE WITH WOMAN CARRYING A
PITCHER ON HER HEAD (also called Land-
scape with Road). 11%^ x 71/2

107. THE LOVERS. 121,4x83^

108. TWO WOMEN IN PROFILE. 103/4x71/2

125. PARADE. 11% X 101/2. (Also called Oom^/m an^

Ballerina, Cloicns and Clowness. the subject is
essentially the same as No. 73)

129. SEATED CLOWN, 1930. 123^x9

137. KNEELING NUDE, 1936. I2I4 x Sy^

139. THE JUDGES. 1938. 1214x814. (Also called
Face to Face )

140. PROUD WOMAN, 1938.
called Young Courtesan)

121^x814. (Also

147. LITTLE DWARF, 1934. 12x8i^

149. LITTLE EQUESTRIENNE, 193(). 121/4x81/2

158. THE BALLERINAS, 1934. 1214x8

152. MADAME CARMENCITA, 1935. Uy^ x 81/2

161. PORTRAIT OF VERLAINE, 1926. Black and
white lithograph, 243^ x 181/4- Inscribed by the
artist: No. 22— Esquisse Verlaine— Premier tirage
a 30 epreuves— G. Rouault, 1926.

166. AUTUMN, 1933. Black and white lithograph,
22x29. Inscribed by the artist: 2^ tirage —
Automne — a 60 ex. Georges Rouault 1933.
According to Johnson 171, there are seven known
states.

172.

TWO MEN,
131/4 X 91/2

ONE BEING LED (pi. 3).

174. CHRIST AND THE CHILDREN 12x81/2

182. CHRIST AND PILGRIMS I214 x 87/s

184. CHRIST AND THE DISCIPLES 12x87/8

186. HEAD OF CHRIST (from Passion), ^'ood-
113, X 73^

engraving. ii-^^x/Aj^

187. S. JOHN THE BAPTIST I from Passion). Wood-
engraving, 11% x 7%

113. STREET SCENE.

13x834

202. Frontispiece page size II14 x 71/2 lithograph GARNETS DE GILBERT, Paris, N[ouvelle] R[evue] F[rancaise]

c^ -i^^ .^^^ ?^^,

la -

NOTE:

The works listed deal primarily or liberally with

Rouault's prints.

The Artlover Library, ed. J. B. Neuman, vol. 4,
GEORGES ROUAULT: Munich Exposition, 1930

Roger-Marx, Claude, L'oeuvre grave de Georges
Rouault, BYBLIS, 1931, pp. 93-100

Dormoy, M., "Georges RouaultJ' ARTS ET METIERS
GRAPHIQUES, August 1935, pp. 23-30

Wheeler, M.. THE PRINTS OF GEORGES
ROUAULT. 1938. Exhibition catalog, Museum of
Modern Art. New York.

Johnson, Una E., AMBROISE VOLLARD EDITEUR,
New York. 1944, passim.

Soby, J. T, GEORGES ROUAULT, 1945. Exhibition
catalog. Museum of Modern Art. With a discussion of
the technique of Rouault's prints by Carl Schniewind.

Wheeler. M.. MODERN PAINTERS AND SCULP-
TORS AS ILLUSTRATORS, New York. 1946,
passim.

Venturi, L., GEORGES ROUAULT, Paris, 1948

Lassaigne, J., "L'oeuvre Grave de Rouault," GRAPHIS,
1949

Wheeler, M., GEORGES ROUAULT: MISERERE,
1952. Preface by the artist. The Museum of Modern
Art, N.Y.

ROUAULT RETROSPECTIVE EXHIBITION, 1953.
The Cleveland Museum and the Museum of Modern
Art, N. Y. Foreword by Jacques Maritain. Print sec-
tion by William S. Lieberman

RETROSPECTIVE EXHIBITION. GEORGES ROU-
AULT. 1953. Los Angeles County Museum in collabo-
ration with the Museum of Modern Art. N.Y.

Venturi, L.. GEORGES ROUAULT. Paris. 1959.

THE ARTIST AND THE BOOK: 1860-1960. 1961.
Museum of Fine Arts, Boston, and Harvard College
Library. Exhibition catalog, introduction by Philip
Hofer, pp. 179-185.

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Catalog designed by Tor Winstrup

Photographs by George Brauer and Armando Solis

Typography by John E Mawson Co.

Printed by Ray Burns Inc. Lithographers