Women at the Académie Julian in Paris

Author(s): Catherine Fehrer

Source: The Burlington Magazine, Vol. 136, No. 1100 (Nov., 1994), pp. 752-757
Published by: The Burlington Magazine Publications, Ltd.
Stable URL: http://www.jstor.org/stable/886272
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 CATHERINE FEHRER

Women at the Acadmie Julian in Paris

IN 1893 an article on the AcademieJulian in Paris appeared

in the London journal, The Sketch.'Based on an interview
with Rodolphe Julian himself, it dealt mainly with the
women's ateliers, their history andJulian's reasons for creat-
ing them. By that time, the women's studios were attracting
large numbers of students from all over the world, and suffi-
cient documentation, much of it unpublished, survives to
show thatJulian considered them to be an essential part of
his Academie Julian, which had been the first professional
art school to admit women on an equal basis with men.2
Julian (Fig.20) had come to Paris as a young man from his
native village of La Palud in the Vaucluse in order to become
an artist. Having few resources, he never enrolled at the
Ecole des Beaux-Arts, but was trained in the traditional
manner by Cabanel and Cogniet, both of whom also taught
at the Ecole. As a promising young painter he exhibited first
at the Salon des Refuses in 1863, and from 1865 to 1878 at
the official Salon. The hardships of his student days gave
Julian a sympathetic understanding of the problems and atti-
tudes of students, especially those seeking change. His expe-
riences of an art world dominated by the Ecole and the
Salon led him in 1868 to found an academy, initially with
the purpose of preparing students for entry to the Ecole des
Beaux-Arts. It soon became recognised as a rival to the lat-
ter, earning the sobriquet of 'Ecole des Beaux-Arts de la
Rive Droite', though its liberal enrolment policies were far
removed from those of the official institution and it received
no subsidy of any sort.
To keep his expenses low,Julian rented ateliers which he
could open and close as demand dictated, but he became
sufficiently prosperous to be able to award prizes and to 20. RodolpheJulian. Photograph.Reproducedfrom TheSketch,June 1893],
reduce fees for talented but indigent pupils. As the enterprise p.473
flourished, Julian withdrew from his personal career as an
artist, devoting himself to the Academie, formulating its poli-
cies and serving as director up to his death in 1907.3 His staff claims as his right' and that 'few artists care to have the
included a number of the professors at the Ecole des Beaux- responsibility of taking ladies into their ateliers'. It was not
Arts, and his students received comparable training and surprising, he felt, that, with one or two exceptions, women
encouragement if they showed talent. By including many had made no great name in art and that 'most women who
foreign as well as French students, women as well as men, his have become famous in French art belonged directly to an
Acad6mie acquired an international and universal status artistic family'.4
that explains much of its appeal, and ultimately its world- When the academy was founded in 1868, Julian did not
wide reputation. exclude women from its ateliers, and a few years later he set
Before Julian founded his academy there had been only up studios exclusively for them (Figs.21, 23 and 24). The
two alternatives for art students in Paris: to study with a cel- presence of women in the ateliers is recorded as early as
ebrated master such as Courbet or Gleyre, or to enter the 1873, when George Moore entered the Academie and found
Ecole des Beaux-Arts, to which only men were admitted, eight or nine English girls in his class, and Albert Rhodes's
after a highly competitive entrance examination. In his account of an evening class in Julian's studio at the Passage
interview with the Sketch,Julian pointed out that women des Panoramas published that same year mentions that
'were given none of the opportunities which each male artist 'six or seven women were present, two of whom were

'Julian's Studios. An Interview with their Creator', The SketchJune 1893],
pp.473-74. It was reprintedin the English edition of a booklet entitled Academie
Julianwhich was probablyintended for publicityand containsthe names of prize-
winning studentsas well as articleson the Academie. Only one, privatelyowned,
copy is known to me.
"Itis hoped that these privatelyowned records,includingan index of female stu-
dents of the Academie, will soon be available to the public.
'For further details onJulian's life, see c. FEHRER: 'RodolpheJulian', in The Julian
Academy,Paris 1868-1939, exh. cat., Shepherd Gallery, New York [1989], pp.6-20.
'Sketch, loc.cit. at note 1 above. His analysis is similar to that in L. NOCHLIN: 'Why
have there been no great Women Artists', Art Jews [January 1971], especially
pp.29-39.

752
 WOMEN AT THE
21. The women's anatomicalstudio of
the AcademieJulian (5 rue de Berri).
Photograph.Reproducedfrom he Sketch,
June 1893], p.474.
American'.5 Women are included among the students shown
inJulian's own painting UneAcademiedepeinture,representing
the Academie Julian, which he exhibited in the Salon of
1876. Separate studios for women were established a few
years later: asJulian explained to the Sketchjournalist, he did
'admit a few ladies, foreigners, into his men's studios during
the early years', but added: 'It was extremely awkward and
disagreeable and I soon saw that if I were to hope to get my
own countrywomen to work with me, I should have to make
different arrangements.'6 Some male students appear to
have considered mixed ateliers an impropriety,7 but in creat-
ing special studios for women Julian seems to have
responded more to the needs of bourgeois families who felt
that the study of art was essential for the education of their
daughters but were fearful of mixed classes. The women's
ateliers were evidently established by 1876/77, to judge
from the account of Marie Bashkirtseff (1858-84) whose
posthumously published Journal is a useful source for the
Acad6mie's early years and also perhaps helped establish
Julian's reputation. Bashkirtseff wrote that she entered
Julian's Academie in 1877 because at that time it provided
the only serious training for women in Paris.8 She could if
she wished have chosen to work with the men, but elected to
enter the women's atelier not only because the men smoked
but, more significantly, because she felt that there was no
essential difference between the classes, since the women
also drew from the male nude.9 By 1879, it would appear
'G. MOORE: Confessionsof a YoungMan, London [1904], p.22; and A. RHODES: 'Views
abroad.A Day with the French Painters',Galaxy,XVI [July 1873], p.13.
"Whenthe index of female studentsat the Academie becomes available,it should
help identifywho studiedin these early mixed classes.
7SeeRHODES, loc.cit.at note 5 above, p. 13, and, for a discussionof Rhodes's article,
J.A. WEIN: 'The Parisian training of American Women Artists', Women'sArtJournal,
II [1986], p.42.
8M. BASHKIRTSEFF: Paris [1980], p.314. Julian told the
Journal de MarieBashkirtseff,
ACADEMIE JULIAN
from the evidence of May Alcott Nieriker, the men's ateliers
no longer accepted women.l1
Julian stressed to the Sketchjournalist that the work in the
women's ateliers was not only equal, but 'considerably more
serious than in his studios for men', adding: 'Of course, at
first, many of the most earnest lady students were much dis-
gusted at being shunted into what they considered an ama-
teur studio, and one young lady, an American, implored me
with tears to allow her to continue with her former com-
rades; indeed she absolutely refused to associate in any way
or join my new atelier. Every month for two years she came
and paid me a formal visit, but I had to be inexorable, for no
favouritism should be shown, and she finally departed to the
land of the Stars and Stripes, firmly convinced that I had
barred her way to ultimate fame and glory.' The serious
nature of his female programmes does seem also to have had
the larger purpose of preparing women to compete profes-
sionally with men. Remarking on the projected admission of
women to Ecole des Beaux-Arts, Julian told the Sketchjour-
nalist: 'It will immediately benefit those girls who have artis-
tic faculties and who wish to learn one of the many trades in
which some knowledge of drawing and colour have hitherto
made all the difference between the skilled workman and his
unskilled sister.'
From the beginning, the operation of the Academie was
not confined simply to work in the classroom, but was
geared towards launching students on an independent
Sketchjournalist that 'had she lived, she might have gone far, very far ... There was
about her an influence that no one could resist' (loc.cit.at note 1 above). The Journal
dates her entrance to the Academy as October 1877, but the unpublished index of
women students cited at note 2 above, gives 1876 as the year she began to study
there.
'For an account of the controversy surrounding women studying from the nude, see
T. GARB: Sistersof theBrush, New Haven and London [1994], pp.81ff.
'M.A. NIERIKER: StudyingArtAbroadand how to do it cheaply,Boston [1879], p.46.
753
 WOMEN AT THE
career. An elaborate system of concoursinvolving both the
men's and women's ateliers prepared students for the chal-
lenges they would face, both to exhibit their works in the
Salons and to compete in the professional world.' Once a
month all the students competed together and the examin-
ing professors were not told the name or the sex of the
competitors till the results were declared. Julian himself
remarked that it was astonishing 'how often women have the
best of it in these trials. Especially is this true of portraiture
which is generally supposed to be a man's speciality'; and,
when questioned about the ability of the female students, he
replied that they were 'as much a credit to him as the men
who studied in the ateliersJulian'.'2
Exhibitions of work, and prizes awarded by the Aca-
demie's professors, prepared the students for the experience
of exhibiting in the Salon. The professors were chosen not
only for their ability to teach, but also for the influence they
might be able to exert on their students' behalf. Julian him-
self was notorious for his efforts to assure that his students'
work would be shown in the Salon, becoming known as the
'Warwick of the Paris juries'; by 1890, as an American stu-
dent noted, 'a certain amount of space' there was allotted to
the Academie Julian."3 That this was not altogether a
positive development is suggested by the remarks of another
student, Alice Kellogg, who complained after one of her
sketches had been selected for the Salon: 'Our enthusiasm
for the Salon is decidedly dashed by the undeniable fact-
hardly concealed at all - of the all-powerful potency of
"influence" and wirepulling. We all feel that going in as
"For the concours,see R. NOBILI: 'The AcademieJulian', Cosmopolitan,VII [1889].
'Loc.cit.at note 1 above.
"Loc.cit.at note 1 above, p.473; and for the student's remarks, see c. WARTON:Jeunes-
MillerMagazine[July 1890], p.398.
'See A. BLAUGRUND(with J. BRODIE): 'Alice D. Kellogg, Letters from Paris 1887-89,
754
ACADEMIE JULIAN
by Ellen Day Hale.
22. Self-portrait,
1885. 72.4 by 98.4 cm. (Museumof
Fine Arts, Boston).
pupils of Julian did more than half toward gaining our
14
admission.'
Julian's Academie owed much of its reputation to the illus-
trious professors who taught there. Marie Bashkirtseff appre-
ciated the advice and attention she received from Tony
Robert-Fleury, with whom Cecilia Beaux (1855-1942) also
studied, while Alice Kellogg wished to study only with
Boulanger and left the academy after his death in 1888."1
Other students found it useful to work with several instruc-
tors, the professors tending to teach only the general prin-
ciples of the art and encouraging their pupils to develop
an individual approach - although Elizabeth Gardner
(1837-1922), many of whose paintings were almost indistin-
guishable from those of her future husband, William
Bouguereau, evidently chose not to. When Julian himself
visited his ateliers he sometimes offered general advice or
commented on a student's work, but otherwise he made it
clear that it was his professors who were there to teach and
to offer criticism.
Although the programme of studies in the women's stu-
dios was entirely similar to that in the men's, some women
complained that they received only half the criticism pro-
vided for the male counterparts in this highly segregated
system. Both male and female classes were equally over-
crowded, and Charlotte Warton complained in 1890:
'Surely, ifJulian knew how uncomfortable we are, he would
6
provide better accommodations.' The women were, how-
ever, furnished with the services of a bonnewho ran errands
for them. As in the men's studios the work was almost
Archives ArtJournal,XXVIII [1988], p. 12. For the proteststhis influence
ofAmerican
attracted, see also FEHRER, loc.cit.at note 3 above, p. 15.
5BLAUGRUND, loc.cit.at note 4 above, p.8.
'"WARTON, loc.cit. at note 13 above.
 WOMEN AT THE
23. M. Bouguereau's studio at the Academie
Julian (5 rue de Berri). Photograph. Reproduced
from The Sketch,[June 1893], p.473.
entirely technical, with long sessions of life classes, though
according to a visitor to the women's studio in the Passage
des Panoramas in 1885 there was 'a course of lectures on
anatomy and perspective given by an assistant of Mathias
Duval, Lecturer at the Ecole des Beaux-Arts' and there also
appear to have been 'dissections on dead bodies performed
in the students' presence'.7 The admission policy for both
men and women was extremely liberal but, though Julian's
fees were generally considered to be moderate, those for
women after the creation of separate ateliers were double
those for men, probably because of the extra expense of
providing segregated studios.'8 Despite the resulting mixed
group of students, standards remained high and competition
was keen. As one American student remarked: 'We had to
work hard. If a pupil had little talent... no notice was taken
of her, everything was done to discourage her . . . There
would come a day when she would not be in her accustomed
place. No one knew what happened, but whatever it was, it
was kindly done and effective'.'9 Those who showed talent
were encouraged, and received valuable advice and criti-
cism.
The first women's atelier was located on the second floor
at 27 Galerie Montmartre in the Passage des Panoramas.
Anna Klumpke (1886-1942), later a successful painter and
the companion and biographer of Rosa Bonheur, described
it as 'located near one of the principal boulevards and
approached by a flight of steps leading up to the first land-
ing. A small door opened into a moderate sized room with a
skylight, a stove in the center, an evident lack of ventilation
and a platform on which sat a draped model.'2"At this time
7See E. BELLET: 'Julian's Studios. PaintingSchools where Women learn to become
Artists',Brooklyn DailyEagle[30thJuly 1888]. For furtherdetails on instructionat
the Academie, see c. FEHRER: 'New Light on the Julian Academy and its Founder,
RodolpheJulian', GazettedesBeaux-Arts,XX [1984], pp.209-210, and B. WEINBERG:
'TheJulian Academy'in TheLureof Paris,New York [1991], pp.222ff.
"'Higherfees for women were in fact customary.
ACADEMIE JULIAN
Tony Robert-Fleury was director of the class, and Pierre Cot
was also associated with it.
As the number of students increased, a second studio for
women was opened in the nearby rue Vivienne, which was
described in an article of 1895 byJ. Sutherland:
The studios whichJulian established for men were already
a famous success before he opened one for women, and
when that in turn became full to overflowing, the new-
comers were relegated to a deserted atelier in the nearest
street. We, the overflow, were fifty or sixty women and
girls - English, Scotch, Irish, Americans, Canadians,
Greeks, Italians and Spaniards and one modest, hard-
working little Finlander. Four weary flights of stairs led to
the atelier, a huge brick-floored room whose one light
from the sky-window filtered down upon the model's head
as through the bung-hole of a hogshead . .. Our rivals in
the sister studio of the Passage des Panoramas said to us:
'Your light is good discipline for you.' But they secretly
thanked their stars that theywere not under it.2'
The atelier in the rue Vivienne was later closed, perhaps
after the main studio for men was moved to the rue
Faubourg St Denis, leaving all the accommodation in the
Passage des Panoramas for women's studios; it eventually
became the site of Jean-Paul Laurens's popular women's
classes which continued up to the beginning of the First
World War (Fig.24). Julian added yet another studio for
women in 1888 in a more fashionable part of town, at 28 rue
du Faubourg Saint-Honor6, and it is a mark of his success in
the beau-mondethat the list of students includes many aristo-
"'These remarks byJulia Sully are quoted in M.L. BAYLESS:'Adele Williams and the
Richmond Art Scene', Virginia Cavalcade [Spring 1992], p. 171.
2"A.E. KLUMPKE:Memoirsof an Artist, ed. L. WHI1ING, Boston [1940], p.52.
2'j. SUTHERLAND: 'An Art Student's Year in Paris. Women's Classes at Julian's
School', TheArtAmateur
January 1895], p.72.
755
 WOMEN
cratic names. This appears to have been a temporary loca-
tion, however, and a more permanent atelier soon opened at
5 rue de Berri, just off the Champs Elysees, with four hun-
dred square metres of space, enough for four good-sized stu-
dios (Figs.21 and 23). In addition to classes for drawing and
painting, there was room for sculpture classes, and later for
water-colour and miniature painting. Bouguereau taught
here, and Chapu taught sculpture, followed by Verlet and
Landowski. It was at rue de Berri that Cecilia Beaux began
her studies in 1888 but, finding little competition to spur
her, she later transferred to the old studios in the Passage des
Panoramas, which she found 'less dilettante although not
much more talent was evident'.22 Around 1890 a further
women's studio was opened in Montmartre at 28 rue
Fontaine and there was, apparently, yet another adjacent to
the men's atelier at 5 rue Fromentin. Jules Lefebvre and
Tony Robert-Fleury were in charge of both these studios.
AfterJulian transferred his main studio for men to the Left
Bank at 31 rue du Dragon in 1890, he opened a women's
atelier nearby at 55 rue du Cherche-Midi; this latter occu-
pied an entire building with space for classes in drawing,
painting, sculpture and miniature.
The office from whichJulian supervised his scattered stu-
dios during the early years was located next to the women's
ateliers in the Passage des Panoramas, thus allowing close
supervision of their activities. The Sketchjournalist described
it as follows:
The walls are covered with clever studies by some of the
greatest names in the French art world, among them por-
traits of his favourite pupils, done either by themselves or
by one of their fellow students, notably a quaint and
remarkable little study of Marie Bashkirtseff. Here ... he
can generally be found in the morning, although he
makes it his business to visit his many other studios very
frequently and is always present at the bi-weekly visit of
2C. BEAUX: Backgroundwith Figures,Boston [1930], p. 172.
2:1Seethe list published in TheArtStudentin Paris,Boston [1887]; and also FEHRER,
756
AT THE ACADEMIE JULIAN
24. M. Jean-PaulLaurens del'Institut
et
deseseleves-dames,
quelques-unes (27 Galerie
Montmartre,Passagede Panoramas),
Photograph.Title-page of L'Academie
Julian, [December 1912]. (Bibliotheque
Nationale, Paris).
the various professors.
After opening the ateliers on the Left bank,Julian established
a new office for himself at 31 rue du Dragon from where he
could more easily supervise the activities there and consult
with the professors.
After Julian's death in 1907, his widow Amelie Beaury-
Saurel maintained the women's studios, directing first one,
then all of them, but the operation of all the ateliers was
inevitably reduced during the First World War. The studio at
5 rue de Berri continued to accept women students until the
Julian family ceased to direct the Academie in 1939. During
the last years a few women were apparently also permitted
to enrol in the men's ateliers and after the enterprise was
sold in 1946 mixed classes became the rule.
The AcademieJulian did not lack competition for women
students in Paris. The most direct challenge came from the
Academie Colarossi which followed the same pattern as
Julian's, with well-known professors such as Colin, Courtois
and Dagnan-Bouveret and a flexible schedule, but was open
to both men and women at lower fees. Other popular ate-
liers for women were those run by well-known painters such
as Carolus-Duran and Edouard Krug.23Women often stud-
ied at several of these Academies or entered one to continue
later at another. In this way students were able to compare
the offerings of several schools and choose what they wished
from each. In the face of this competition, Julian's continual
expansion of his ateliers for women is an indication of his
success.
Until the list of pupils enrolled at the Academie becomes
available it is possible only to give a preliminary report of the
women who studied there, most of them French but with
others from all parts of Europe, especially England, and
from America. Among the most famous of the early intake
of women was the American, Elizabeth Gardner, who was
there from 1872 to 1876, and achieved wide recognition for
loc.cit.at note 3 above, and WEINBERG loC.Cit.
at note 17 above.
 WOMEN AT THE ACADEMIE JULIAN

her paintings both in her native country and abroad, inde-

pendently of her husband, William Bouguereau, whom she
married in 1896.24 Marie Louise Catherine Breslau
(1856-1927) of Zurich, who studied withJulian from 1875,
received gold medals in the Expositions Universelles in 1900
and 1901, and became a Chevalier of the Legion d'Hon-
neur. Sophie Schappi (1852-1921), also of Zurich, entered
the academy in the same year and enjoyed a successful
career as painter and illustrator, while Anna Nordgren
(1847-1916) from Sweden who enrolled in 1874 became a
respected portrait and genre painter. Among the early
French students were Mme Real Del Sarte (d.1928), who
later taught at the Academie, Marie Del Sarte (b. 1848) who
entered in 1874, andJenny Zillhardt, who arrived in 1875.
Victorine Meurent, who had been the model for Manet's
Olympiaand Dejeunersur l'herbe,studied in evening classes at
the Academie, and exhibited work in the Salon the following
year.25The best known of the French students, however, was
Amelie Beaury-Saurel, who began her studies in the Acad-
emie in 1874 and served as massiereof the women's atelier
when Marie Bashkirtseff was a student. (The massierewas a
student, chosen to be in charge of the class, who posed the
model and collected a fee - the masse.)This was the begin-
ning of a long association with the Academie, cemented in
1895 when she married RodolpheJulian. During their mar-
ried life she achieved considerable success as a portrait
painter while continuing to take an active part in the admin-
istration of the women's ateliers, and it was she to whom by Lois MailouJones. 1938. Oil on linen, 64.8 by 53.3 cm.
25. Lesfetiches,
Julian bequeathed the Academie on his death in 1907. From (NationalMuseum of AmericanArt, Washington).
then, until her death in 1924, she served as nominal director
with the help of her nephews, Jacques and Gilbert Dupuis,
continuing her career as a portraitist and remaining close to to their cause. Rosa Bonheur, as quoted in the biography of
the women's ateliers.26 her by her companion, Anna Klumpke, remarked that 'M.
The American students greatly appreciated their time at Julian understands that by determination and perseverance,
the Academie Julian. Rosina Emmet (1854-1948) wrote a woman can very well equal a man in the sciences and the
home in March 1885 that she 'could never be sufficiently arts',30while a former student, Gabrielle Reval, went so far
thankful for this winter's work',27and the Bostonian Ellen as to maintain that 'Julian was a revolutionary in art educa-
Day Hale (1885-1940) 'returned to America an artist in her tion. He should be honoured as a father of the feminist
own right' after studying at the Academie between 1882 and movement'.31
1885.28Her penetrating self-portrait in black with a shadowy When it was founded the Academie Julian represented a
Japanese background (Fig.22) was painted while she was challenge to the art establishment of its time, especially in
there. Willie Betty Newman (b.1864) of Murfreesboro, that authority was shifted from the professors to the students,
Tennessee, who studied atJulian's from 1890 to 1896, exhib- both men and women, who were free to leave or to stay as
ited at the Salon for many years and was a successful portrait long as they wished. The students not only gained technical
painter after her return home, as were Anna Klumpke of skills, but also the courage to develop individual styles, and
San Francisco, Cecilia Beaux of Philadelphia and Adele by 1887 the Academie was described as modernist, even
Williams (b. 1868) of Richmond, Virginia. Of a later genera- impressionist in its bent.32 By then many of its students,
tion, Lois Mailou Jones (b.1905) had a scholarship in including women, were exhibiting in Paris and had em-
1937-38 at the Academie, where she was able to explore the barked on careers as artists; their success served to under-
masks of her African heritage (Fig.25) and was encouraged mine the prestige of the Ecole des Beaux-Arts, which had
by Adler Berges and Montezin to exhibit at the Salon. lost much of its exclusive power by the time it finally admit-
Mailou Jones's tribute, made in 1993, that 'The place I ted women in 1897. Indeed, the many well-trained students
now hold in the mainstream of American painting is due to from the Academie Julian helped prepare the way for the
my experience at L'Acad6mie Julian',29echoes that of many artistic diversity of the twentieth century, in which women
earlier women artists who recognisedJulian's contributions artists came to be major players.

2See M. FIDELL-BEAUFORT:'Elizabeth Jan Gardner Bouguereau. A Parisian Artist in Ellen Day Hale, exh.cat., Richard York Gallery, New York
2"See A. CHEESEBRO
from New Hampshire',Archives ofAmerican XXIV [1984], pp.2-9.
ArtJournal, [1981].
"See E. LIPTON:AliasOlympia,New York [1992]. 2'Letterto the author, 7thJanuary 1993.
at note 3 above, pp.16-20.
"'See FEHRER, loC.Cit. 30A. KLUMPKE: Rosa Bonheur.Sa Vieet son Ouvre, Paris [1908], p.66.
27See M.HOPPIN: TheEmmets.A Family of WomenPainters,exh.cat., Danforth Museum, 31G. REVAL:'L'Avenir de nos Filles', Echo de Paris [25th October 1903].
Framingham,MA and BerkshireMuseum, Pittsfield[1982], p. 17. Rosina Emmet 2'Etincelle.Les Ateliersd'Amateurs',Figaro[10thJanuary 1887].
(Sherwood)'s sister Lydia (1866-1952) also studied at the Acad6mie, as did
ElizabethBoott (Duveneck; 1846-88).

757