Artists

Antoine Blanchard

French, 1910-1988

Antoine Blanchard is the pseudonym under which the French painter Marcel Masson (15 November 1910 – 10 August 1988)^[1]painted his immensely popular Parisian street scenes. He was born in a small village near the banks of the Loire.

Education and career:

Blanchard received his initial artistic training at the Beaux-Arts in Rennes, Brittany. He then moved to Paris in 1932 where he joined the Ecole des Beaux-Arts.

Like Édouard Cortès (1882–1969) and Eugène Galien-Laloue (1854–1941), Antoine Blanchard essentially painted Paris and the Parisians in bygone days, often from vintage postcards. The artist began painting his Paris street scenes in the late 1950s, and like Cortès, often painted the same Paris landmark many times, in different weather conditions or various seasons. The most recurrent topics were views of the capital city in cloudy or rainy days, showing streets busy with pedestrians in a rush to go home, and bright storefronts reflecting on wet streets. Many of the French Quarter art galleries of New Orleans handle Antoine Blanchard paintings and prints since this American City has a strong French history. His art is popular in international art auctions and there are many copies. Authentication of an original Blanchard/Masson painting is necessary and the authentic signature carries a secret known by art experts. On August 10th 1988, Antoine Blanchard died aged 77.

By 1932 he left Rennes and traveled to Paris to study.  He enrolled at the Ecole des Beaux-Arts and after a few years entered the competition for the Prix de Rome.  It was in Paris that he developed a love for the city and it’s street life.

In 1939 Antoine married a young woman he met in Paris, and in September of that year war broke out and he was called up for service.  It was not until 1942 that he would return to his art. 

His daughter Nicole was born in 1944 - she too would follow in the family tradition and after the birth of her two daughters, she became an artist working under the name A. Champeau.  It was also around this time that Antoine’s father passed away, and he was compelled to return to his hometown and run the family business - giving him little time to paint.

His second daughter, Evelyn, was born in 1947, and by 1948, he had given control of the family business to his younger brother and returned to Paris to paint.  Contemporary life in Paris had changed, and he longed for the bygone days.  He began to research the Belle Époque period in Paris - reading and studying all the material on the period he could find.

Many of the subjects and scenes he portrayed were taken from images he collected of Paris during the 1890’s, and he would often work on paintings for days or months before he finally felt they were complete.  A.P. Larde comments in his book Antoine Blanchard, His Life His Work that he has always spent much time on his work:  This explains why his production has always been rather limited, unlike the hurried and multiple proliferations of some modern artists… Delicate touches of luminous and shimmering tones produce a marvelous impression of harmony, brightness and light.  Alternate shadings and lights, sensitive and mellow blending allow the artist to attain a hardly-ever reached degree of grace, of radiant and glimmering freshness.

Larde continues to write that his works are first of all, a marvelous invitation to an ideal walk through old Paris, so different from that of today.  Although a large number of historical monuments remain, today’s Paris has little in common with Paris at the turn of the century; the scenery may be almost the same, but daily life as it characters has totally changed; the customs have been entirely transformed.  In his paintings, Antoine Blanchard invites us to relive this period by showing us pleasant strolls along embankments, squares and boulevards at a period in Parisian life when time did not count, when one had all one’s time to idle, to stroll along the streets, to window-shop, to walk quietly along the boulevards or spend the afternoon in a sidewalk café.

Like his contemporary, Édouard Cortès, he devoted his artistic career to the depiction of Paris through all its daily and seasonal changes.  But he was not an imitator of Cortes, but rather depicted the life of Paris at the turn of the century from his own point of view and with his own, unique style. Larde makes an interesting comparison:

Édouard Cortès has always expressed himself in a rather rich virile style, using large and stressed touches, revealing a strength, which recalls the great masters of the XVIIIth century.

On the contrary, Antoine Blanchard has always used small strokes, with a delicate, enveloping and mellow treatment; the slight haziness which is a characteristic of his work in many ways recalls the great masters of the impressionist period.

Whether it was l’Arc de Triomphe, la Madeleine, Café de la Paix, Notre Dame or the dozens of other historical monuments and buildings of Paris, his focus was on the daily life of Paris at the turn of the century.

His work became highly sought after and collectors from around the world vied to acquire his new works. Today he is considered one of the leading exponents of the School of Paris painters