Schuffenecker (Claude-Émile) papers, 1860-1966

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Summary

Title:

Claude-Émile Schuffenecker papers

Dates:

1860-1966

Creators:

Schuffenecker, Claude Emile, 1851-1934

Abstract:

The Claude-Émile Schuffenecker papers, spanning from 1860 to 1966, include personal correspondence, photographs and postcards of portraits, landscapes and monuments in France and Algeria, administrative documents, and printed materials.

Extent:

31 Linear Feet (20 boxes)

Language:

Collection material is in French.

Preferred citation:

Claude-Émile Schuffenecker papers, 1860-1966, The Getty Research Institute, Los Angeles, Accession no. 2023.M.63.

http://hdl.handle.net/10020/archives2023m63

Background

Scope and content:

The Claude-Émile Schuffenecker papers document the professional life and artistic connections of this French post-impressionist artist, providing insight into the Parisian art world of the late nineteenth and early twentieth centuries. The collection's scope extends beyond Schuffenecker's death in 1934 through his daughter Jeanne's correspondence and continued press coverage of his work.

The papers reveal Schuffenecker's professional network through correspondence with cultural figures, including Arsène Alexandre, Marie Bang (Ville Bang), Henri Jules-Bois, Auguste Bouillet, Jacques d'Adelswärd-Fersen, Édouard Deverin, Michel Florisoone, Paul Fort, Louis-Auguste Girardot, André Mellerio, Raymond Meunier, and Claude Roger-Marx.

The archive includes documentation related to Schuffenecker's interest in Vincent van Gogh, such as a 1901 loan receipt for The Man with the Pipe. Professional records encompass correspondence with art supplier Jacques Tasset, communications with the Ministry of Public Education and Fine Arts regarding exhibitions, and documentation of his early career at the Ministry of Finance.

The collection provides evidence of Schuffenecker's professional affiliations through membership materials from the Société des Artistes Indépendants and La Ligue de la Défense de l'Art. Visual documentation of his North African travels, particularly in Algeria, along with press clippings, sales catalogs, and exhibition materials, offers insight into his artistic development and legacy, which continued to generate interest through his daughter's correspondence and press coverage well into the mid-twentieth century.

Biographical / historical:

Claude-Émile Schuffenecker (1851-1934) emerged as a painter in the French post-impressionist movement, following an unusual path from finance to fine art. Born in Fresne-Saint-Mamès to Nicolas Schuffenecker and Anne-Marie Monnet, he began his professional life in Paris as a clerk before advancing to become a stockbroker at the Paris Bourse. In 1880, he married his cousin Marie-Louise Lançon. They had two children: Jeanne in 1881, and Paul in 1884.

The collapse of his brokerage firm in 1882 marked a transformative moment in Schuffenecker's life, leading him to pursue his artistic passion at the Colarossi academy under Carolus-Duran. During this period of transition from finance to art, he became acquainted with Paul Gauguin, who was making a similar career change. To maintain financial stability, Schuffenecker secured a position as a drawing teacher in Paris city schools, which he maintained until 1914.

Schuffenecker's artistic influence extended beyond his own works through his instrumental role in organizing the 1889 Café Volpini exhibition, which showcased works from the Pont-Aven Group, including Gauguin. Working alongside his brother Amédée, Schuffenecker built an impressive collection of works by Van Gogh and Gauguin. In 1889, Gauguin painted a portrait of the Schuffenecker family, L'Atelier de Schuffenecker (Musée d'Orsay), which depicts Schuffenecker, his wife Louise, his daughter Jeanne, and his son Paul.

Schuffenecker's artistic style evolved considerably throughout his career, beginning with impressionist influences and progressing toward a more symbolist approach characterized by atmospheric landscapes and contemplative scenes. After retiring from teaching in 1914, he worked primarily from his studio, where his style became increasingly experimental, incorporating elements of pointillism and abstract color theory.

In his final years, Schuffenecker lived with his daughter Jeanne, who became both his primary caregiver and a frequent subject in his paintings. He continued to paint and contribute to Parisian artistic circles until his death on July 31, 1934. His paintings are housed in the collections of the Musée d'Orsay in Paris, the Museum of Fine Arts in Houston, and the Van Gogh Museum in Amsterdam.

Sources consulted:

Grossvogel, Jill-Elyse. Claude-Émile Schuffenecker: Catalogue raisonné. Alan Wofsy fine arts, 2000.

Acquisition information:

Acquired in 2023.

Custodial history:

The archive was owned by Jeanne Schuffenecker, the daughter of Claude-Émile Schuffenecker. It was acquired by Richard Kelton in 2008. The Getty Research Institute acquired the archive from the Kelton Foundation.

Processing information:

Processed by Ouijdane Hachimi, under the supervision of Karen Meyer-Roux, September-November 2024.

Arrangement:

Arranged in four series: Series I. Correspondence, 1869-1966; Series II. Photographs and postcards, 1860-1934; Series III. Personal Papers, 1868-1935; Series IV. Printed Materials, 1883-1927.

Physical location:

Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy.

Rules or conventions:

Describing Archives: A Content Standard

About this collection guide

Collection Guide Author:: Ouijdane Hachimi
Date Encoded:: This finding aid was produced using ArchivesSpace on 2025-02-05 08:12:34 -0800 .

Access and use

Restrictions:: Open for use by qualified researchers, except for glass plates in Box 20, which are restricted.
Terms of access:: Contact Library Reproductions and Permissions.