Paul Signac, “Opus 217. Sur l’émail d’un fond rythmique des mesures et d’angles, de tons et des teintes, portrait de M. Félix Fénéon en 1890.” Oil on canvas, 73.5 x 92.5 cm. The Museum of Modern Art, New York. Gift of Mr. and Mrs. David Rockefeller. © Digital image, The Museum of Modern Art, New York/Scala, Florence. (For more on Signac and his relationship to Fénéon, as described by Guillaume Apollinaire — and more art — click here.)
As the exhibition “Félix Fénéon: Les temps nouveaux, de Seurat à Matisse,” migrates across the Atlantic from the Musée d’Orsay in Paris to the Museum of Modern Art in New York — with a tweaked title for the Spring show that emphasizes the critic, editor, and modern art promoter’s status among French anarchists — we thought we’d commemorate the occasion with (justement) Michel Ragon’s sketch, as featured in “Dictionnaire de l’Anarchie,” published and copyright Editions Albin Michel, Paris, 2008: (To read our previous coverage of this transatlantic extravaganza — and see more art — start here, then follow the additional links at the end of that article. Click here to read more from Michel Ragon on Anarcho-Syndicalisme, in translation, and here to read translated excerpts from Monsieur Ragon’s “Trompe-l’Oeil.”)
Fénéon, Félix (1861 – 1944): Anarchist intellectual, dandy, eminent critic of the art of Neo-Impressionism (Seurat, Signac, Lautrec), employee (highly-regarded) of the War Ministry, Félix Fénéon was also an important anti-militarist, suspected of posing a bomb at the Foyot restaurant. Incarcerated [in 1894] during the ‘Trial of 30,’ judged, and acquitted (Mallarmé testified in his favor), he directed [the anarchist artistic journal] L’En Dehors until 1895.
Alphonse Bertillon, “Fénéon Félix,” in “Album des anarchistes,” 1994. Albumin silver print after glass negative, 10.5 x 7 cm. Gilman Collection, Museum Purchase, 2005. © New York, the Metropolitan Museum of Art. Bertillon is typically regarded as the father of forensic science — the man who made the various CSIs possible.
Secretary of “La Revue Blanche” (1895-1903), he glorified Bonnard, Vuillard, Matisse.
His short stories in three lines for Matin (1905-1906) are miniature masterpieces. He paraded alcoholic clergymen and syphilitic soldiers and denounced universal suffrage and the right to vote.
In January 1893, in a period when the winter was particularly severe, he wrote, “The moment is propitious for the extinction of pauperism. In a few days, if the frigorific acceleration progresses, the dying-of-hunger race will have completely disappeared.”
He liked to say that the Fatherland is “an entity entirely empty and hollow, like God, like Society, like the State, like Nature, like Morality, etcetera.”
Art critic at Père Peinard, he adopted the tone of [Emile] Pouget [the journal’s publisher, a labor militant and comrade of Paris Communard Louise Michel]: “And merde to the Ecole des Beaux Arts, it’s just a run-down jalopy that needs a good kick in the ass like all the academies, all the institutes and the other bureaucratic machines of the precious pigsty of governance. Therefore no jury, for the independent artists. That’s good that, my God.”
Jean Paulhan, in his preface to Fénéon’s works, wrote: “The anarchist attacks had their reasons, good or not; it’s not for me to judge. Societies have their defects; it seems that French society of the post-War period was particularly ignoble and lack-luster at the same time: detestable and as if disgusted with itself. Even if their only ambition was to provoke precise, explainable, and intelligent crimes, this is enough for the anarchists to warrant our sympathy.”
Bye-bye Paris, a bean toe New York: Georges Seurat (1859-1891), “Marine avec des ancres,” 1890. Oil on canvas, 65.4 × 81.9 cm. New York, the Museum of Modern Art, gift of Mr. and Mrs. William A. M. Burden, 1963. Photo ©John Wronn. Félix Fénéon was the first to champion Seurat, Signac, and the Neo-Impressionists.