Maurice Denis

"The first period in my painting career is love, the wonderment inspired by the beauty of women and children. Passionate intimacies. I only had limited means. What else did I need? Expressing emotion was the only thing that counted for me, that was enough."
Maurice Denis, quoted in Earthly Paradise.

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Maurice Denis: Earthly Paradise Text by Jean-Paul Bouillon, Sylvie Patry, Nathalie Bondil, Jean-David Jumeau-Lafond. Maurice Denis (1870–1943) is perhaps the last great French painter of his generation awaiting rediscovery, after his lifelong friends Pierre Bonnard and Edouard Vuillard. With them, Denis co-founded the Japanese-influenced group
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EDITIONS DE LA RéUNION DES MUSéES NATIONAUX
ISBN: 9782891923101
$45.00 | Awaiting stock

Maurice Denis

In March of 1888, the celebrated French painter Maurice Denis wrote in his journal, "In lieu of the Cloister, I found the Studio, the Studio with all its frivolity and debauchery; and while I'm looking to reconcile the teachings of heaven, my broadened knowledge is opened up to a greater variety of ideas." Featured image is "Cupid Carrying Psyche up to Heaven," 1909.

Maurice Denis: Earthly Paradise

Text by Jean-Paul Bouillon, Sylvie Patry, Nathalie Bondil, Jean-David Jumeau-Lafond.
Published by Editions de la Réunion des Musées Nationaux

Maurice Denis (1870–1943) is perhaps the last great French painter of his generation awaiting rediscovery, after his lifelong friends Pierre Bonnard and Edouard Vuillard. With them, Denis co-founded the Japanese-influenced group known as the Nabis, eventually becoming its principal theoretician. In the 1890s, he remained at the forefront of the movement, and was also closely associated with Symbolism, but his work was tremendously wide-ranging in scope and style. After 1900, his links with Matisse and Cézanne, and his calls for a new classicism—based on his love of Trecento and Quattrocento murals—made him one of the most respected voices in European art. Denis' work ran the gamut of the visual arts, from easel painting to engraving and the decorative arts; after 1918, he worked increasingly on decorative projects in both religious and non-religious contexts. Reproducing many major works for the first time, this thorough survey supplies a definitive volume on one of nineteenth-century France's finest painters.