Modello portrait of Sarah Bernhardt as Jacasse 1907

Exhibitions:
Paris, April-October 1908, at the Union central des arts décoratifs, Exposition Théâtrale, no. 545 under the title: Sarah-Bernhardt, esquisse du panneau des Bouffons, pour le foyer du théâtre Sarah-Bernhardt. By Louise Abbéma, coll. of Mme L. Abbéma. Paris, May 3-15, 1909, Galerie Georges Petit, 8 rue de Sèze: Catalogue no. 17 under the title: Jacasse (Esquisse du panneau pour le foyer du théâtre Sarah Bernhardt. - To Mr. Victor Ullmann.
Related literature:
Union central des arts décoratifs, Exposition Théâtrale, cat. ex., Palais du Louvre, April-October 1908, Paris, Emile Lévy, 1908, p. 61.
Catalog de l'exposition, Invitation à l'exposition des oeuvres nouvelles de Mlle Louise Abbema qui aura lieu du 3 au 15 mai 1909, Galerie Georges Petit, 8, rue de Sèze, Paris, 1909, np.3. The rediscovery of a painted sketch for the décor of the public foyer of the Sarah-Bernhardt theater, Place du Châtelet, Paris, is quite exceptional. Since the theater was built, it has undergone a series of refurbishments, resulting in the disappearance of the decorative ensemble intended by Sarah-Bernhardt and signed by painters Alfons Mucha, Georges Clairin, Louis Besnard and Louise Abbéma.
Our modello is a unique testimony to the history of the Théâtre de la Ville.
Louise Abbéma's large portrait of Sarah Bernhardt as Jacasse was particularly suited to the building where Miguel Zamacoïs' play Les Bouffons premiered in January 1907. It was also part of a genealogy of artistic performances featuring Sarah Berhnardt in the roles that made her famous.
Louise Abbéma's sensitive portrayal of Sarah Berhnardt is a triple portrait of the actress, theater director and beloved companion she accompanied throughout her life.
Louise Abbéma (1853-1927)
Modello for Portrait of Sarah Bernhardt in the role of Jacasse,
circa 1907, oil on canvas, 76 x 55.5 cmOlivia Droin, Louise Abbéma (1853-1927), peintre décorateur, DEA, defended at Université Paris 1
Panthéon-Sorbonne, under the direction of Daniel Rabreau, October 1993, vol. 2 (catalog of dated works, p. 73.
Related work: Jacasse, decorative panel, oil on canvas, formerly in the foyer of the Théâtre Sarah-Bernhardt, exhibited in 1907 at the Salon de la Société des artistes décorateurs at the Pavillon de Marsan, Musée de l'Union centrale des arts décoratifs, from October 30 to December 10, 1907. The rediscovery of a painted sketch for the décor of the public foyer of the Sarah-Bernhardt theater, Place du Châtelet, Paris, is quite exceptional. Since the theater was built, it has undergone a series of refurbishments, resulting in the disappearance of the decorative ensemble intended by Sarah-Bernhardt and signed by painters Alfons Mucha, Georges Clairin, Louis Besnard and Louise Abbéma.
Our modello is a unique testimony to the history of the Théâtre de la Ville.
Louise Abbéma's large portrait of Sarah Bernhardt as Jacasse was particularly suited to the building where Miguel Zamacoïs' play Les Bouffons premiered in January 1907. It was also part of a genealogy of artistic performances featuring Sarah Berhnardt in the roles that made her famous.
Louise Abbéma's sensitive portrayal of Sarah Berhnardt is a triple portrait of the actress, theater director and beloved companion she accompanied throughout her life.
Louise Abbéma (1853-1927)
Modello for Portrait of Sarah Bernhardt in the role of Jacasse,
circa 1907 ©BNF, Département des Arts du Spectacle
Sarah Bernhardt signed a lease with the City of Paris to operate the Théâtre des Nations, place du Châtelet, from January 1, 18991. The theater, built in 1862 by Gabriel Davioud
by Gabriel Davioud, underwent major reconstruction after it burned down during the Paris Commune
in 1871. The new lease expressly stipulates that "decorative painting and interior furnishing
interior furnishings of the theater" are the responsibility of the buyer2. The work lasted six months.
This was a unique opportunity for Sarah Bernhard to show her originality in decorating the theatre.
place.
Sarah Bernhardt chose to adapt the auditorium to her taste and image, abandoning the usual
the usual red color. The press echoed this cheerful, shimmering atmosphere:
Bright, with its white and pink seats and nasturtium carpet, the room is charming and comfortable. The plush curtains opening in the middle, the banister nicely decorated with masks
and the simple blue ceiling are in excellent taste, and the illustrious director is to be praised for taking such good care of the spectator, for whom such a well-suited environment is an added attraction.
is an added attraction.3

1 The lease was renewed for 9 years from January 1, 1914. Cf. Archives de la Ville de Paris.
2 Paris City Council report 1898, "Projet de bail entre la Ville de Paris et Mme Sarah-Bernhardt pour le Théâtre des Nations", p. 12.
Théâtre des Nations", p. 12 © BNF
3 J. L., "Les décorations du théâtre Sarah Bernhard", La Chronique des arts et de la curiosité, supplement à la Gazette
des Beaux-Arts, January 20 1899, p. 25.
5
The beautiful fourteen-meter frieze on the front of the stage, alternating comedy masks and bouquets of flowers, was painted by Georges Clairin and M. Jambon. The director wanted each dressing room to have "a large divan upholstered in buttercup silk 4". The electric lamps are covered with a pale yellow glass globe. The smoking room is decorated with "a frieze with masks,
garlands of flowers and streamers recalling Sarah Bernhard's main creations, while a band representing thyrses runs along the base5".
As well as the auditorium, the decoration of the public foyer also attracted the attention of journalists. Sarah Bernhardt entrusted her closest collaborators and friends with the
design ten painted panels, eight of which feature her in her best-known roles. Journalist Alfred Delila gives his Figaro readers a detailed description of what he calls "Madame Sarah Bernhardt's little Louvre": Let's move on to the public foyer, where we find ourselves in a veritable museum, - Madame Sarah Bernhardt's little Louvre: eight panels catch the eye and provoke admiration. Seven are completely painted (...). In the meantime, here is the theory of Mme Sarah Bernhardt's great roles, rendered with exquisite care: La Samaritaine, her pitcher on her shoulder; Gismonda, palm in hand, surrounded by oleanders, by Mlle Louise Abbéma -Théodora, crown on her head, the spectre in her hand, the golden veil over her face; the Tragédie antique, dark tunic, one hand raising its mask, by Georges Clairin; - la Dame aux camélias and Hamlet, by M. Our sketch, painted in 1907, depicts Sarah Bernhardt.