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Antoine Blanchard, Marcel Masson

by on June 3, 2013

Antoine Blanchard was the nom de plume for the artist, Marcel Masson, (1910-1988). Marcel Masson, was born in France on November 15, 1910 in a small village near the banks of the Loire.

Antoine Blanchard was the nom de plume for the artist, Marcel Masson.

Marcel Masson, was born in France on November 15, 1910 in a small village near the banks of the Loire.  He was the eldest of three children and his father, a carver, managed a small carpentry and furniture shop.  Marcel would watch his father hand carve the furniture and began to display an artistic flair early in life – in an effort to promote this talent, his parents sent him to Blois for drawing lessons.  He continued his training in Rennes at the Ecole des Beaux-Arts where he studied sculpture and drawing.  Upon completion of his studies, he was awarded the schools highest award: Le Prix du Ministre.

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 Marcel 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 Marcel’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 before he finally felt they were complete.

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 to-day.  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.

Marcel Masson followed in the footsteps of the artist Édouard Cortès. It was only when he began painting in the style of Édouard Leon Cortès that Marcel Masson adopted the nom de plume of Antoine Blanchard.  He did not copy the works of Cortès and had a different style of painting than Cortès, but did use the same subject matter of the famous Parisian street scenes. 

‘Antoine Blanchard has always used small strokes, with a delicate, enveloping and mellow treatment; the slight haziness which is a characteristic of his work of the impressionist period.’

Whether it was Porte St. Martin,  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.

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