INVENTORY OF THE GEORGES TURPIN JOURNALS AND LETTERS,
1914-1952
Finding aid created by Lesley Walker.
The Getty Research Institute
Research Library
Special Collections and Visual Resources
1200 Getty Center Drive, Suite 1100
Los Angeles, California 90049-1688
Phone: (310) 440-7390
Fax: (310) 440-7780
Email Requests: http://www.getty.edu/research/conducting_research/library/reference_form.html
URL: http://www.getty.edu/research/conducting_research/library
©1998
J. Paul Getty Trust.
INVENTORY OF THE GEORGES TURPIN JOURNALS AND LETTERS,
1914-1952
Accession no. 940116
Finding aid prepared by Lesley Walker
Getty Research Institute
Contact Information:
- The Getty Research Institute
- Research Library
- Special Collections and Visual Resources
- 1200 Getty Center Drive, Suite 1100
- Los Angeles, California 90049-1688
- Phone: (310) 440-7390
- Fax: (310) 440-7780
- Email Requests: http://www.getty.edu/research/conducting_research/library/reference_form.html
- URL: http://www.getty.edu/research/conducting_research/library/
- Processed by:
- Lesley Walker
- Date Completed:
-
September 1996, revised Nov 2005
- Encoded by:
- Philip Curtis
©1998 J. Paul Getty Trust.
Descriptive Summary
Title: Georges Turpin journals and letters
Date (inclusive): 1914-1952
Collection number: 940116
Creator:
Turpin,
Georges, 1885-
Extent:
2.9 linear ft.
(7
boxes)
Repository:
Getty Research Institute
Research Library
Special Collections and Visual Resources
1200 Getty Center Drive, Suite 1100
Los Angeles, CA
90049-1688
Abstract: French critic and poet. The collection consists of Turpin's journals from 1914 to 1952 as well as a set of ca. 240 letters
received and critical studies and eulogies. Letters from some 50 correspondents, mostly artists, concern reviews, exhibitions,
sales of paintings, and publications, and often contain musings on artistic theory and practice.
Language: Collection material in French
Administrative Information
Access
Open for use by qualified researchers.
Publication Rights
Preferred Citation
Georges Turpin journals and letters,
1914-1952, Getty Research Institute, Research Library, Accession no.
940116.
Acquisition Information
The present collection assembles two separate collections.
Approximately 190 letters from Georges Turpin were acquired in 1985 with an
original accession number of 850812. The journals were not acquired until 1994.
The journals themselves contained, interleaved, ca. 150 letters. Those letters
have been integrated with the earlier acquisition and are now housed in Box 7
of the present collection.
Biographical/Historical Note
French critic and poet.
Scope and Content of Collection
The collection consists of Georges Turpin's journals from 1914 to 1952
as well as a set of ca. 240 letters received and six essays comprised of
critical studies and eulogies. Turpin begins the journal in 1914, using loose
leaf paper; in 1934, he starts writing in bound diaries or agenda. Turpin's
journals bring the artistic and literary world of early and mid century Paris
back to life. On Mondays and then later on Sundays, Turpin received his artist
friends at his home to discuss art and politics. He frequently visited the
studios of various artists, offering detailed descriptions of the workplace and
conversation. Finally, Turpin paid attention to the particulars of the art
world by recording how much a painting brought at auction, how the winner of a
prize was chosen or who were the members of a certain committee. The letters
add even more context. From some 50 correspondents, mostly artists, they
concern reviews, exhibitions, sales of paintings and publications. They often
contain musings on artistic theory and practice.
In 1935, Turpin tells us why he wrote the journal: "Dans ce journal je
me plairai à dire, cette année encore, ce qu'on ne dit pas,
à noter ce qu'on ne note pas pour qu'il puisse servir à
l'histoire artistique de ce temps. Je voudrais qu'on puisse le publier un jour
en y intercalant jour par jour, semaine par semaine, les restes d'art que
j'essaime dans revues et journaux. On aurait aussi une sorte de vue
générale, de vue d'ensemble sur le mouvement artistique
contemporain."
Arrangement
Indexing Terms
Subjects
Turpin, Georges, 1885-
Art critics—France
Art—Prices—France
Artists' studios—France-Paris
World War, 1939-1945—France—Paris
Paris (France)—History—1914-1918
Paris (France)—History—1940-1944
Paris (France)—Intellectual life—20th century
Genres and Form of Material
Diaries—France—20th century
Contributors
Barbey, M.F.
Dongen, Kees van, 1877-1968
Duval-Gozlan, Léon
Girieud, Pierre, 1876-1948
Kupka, Frantisek, 1871-1957
Lecomte, Georges, 1867-1958
Mauclair, Camille, 1872-
Montezin, Pierre Eugene, 1874-1946
Peské, Jean, 1870-1949
Renefer, Raymond
Villon, Jacques, 1875-1963
Lévy-Dhurmer, Lucien, 1865-1953
Series I.
Journals,
1914-1952
Physical Description:
6 boxes
Scope and Content Note
Turpin recorded his social milieu, the literary and artistic life of his friends and acquaintances and the particulars of
the art market. The journal begins on loose-leaf pages in 1914. Turpin used bound volumes starting in 1934.
Box 1, Folder 1-5
1914-1925
Scope and Content Note
The journal begins with a dramatic description of the French
mobilization during the summer of 1914. Beginning in 1916, Turpin starts
discussing his literary ambitions, detailing his initial conversations with
editors, painting verbal portraits of those he meets and indefatigably filling
page after page with amusing anecdotes. He thus launched his career as a
chronicler. In the early years, he seems to have had relatively close
relationships with the following artists and literary personages: Marguerite
Crissay, Roland Chavenon, Nicolas Beaudoin, Maurice Barbey, Elissé
Cavaillon, Ivan Goll, Jean Peské, Gustave Kahn, Charles Jacquemot,
Marcel Guimond and Yseru y Alié. He is employed at Le Matin and in 1925
becomes the "chef du service" for the arts and photography department. He also
hosts a literary and artistic salon on Mondays, during which he receives his
friends and encourages—and later records—conversations often concerning
artistic theories and opinions.
Box 1, Folder 6-10
1926-1935
Scope and Content Note
He continues his lundis while his circle of friends and
acquaintances expands. In 1929 when he publishes a book entitled
Stratégies artistiques, he supplies posterity
with a list of artist friends to whom he sends autographed copies: (besides
those listed above) Mario Tozzi, Pau Planas, Marcel Falter, René Mallia,
Jehau Berjeuneau, Bernard de Guinhald, Marcel Bash, Auguste Pierret, Jean de
Botton, Eluero Celli, Lucie Caradek, Aimé Dellamagne, Robert
Wlérick, Romain Jarrosz. Turpin is also an active member of the Syndicat
de la Presse Artistique, Le Comité de la Presse Critique and the
Société Amicale des Ecrivains & Artistes français and
seems involved with the
Revue Littéraire which changes name to
Revue littéraire et artistique. In 1934 he
moves to a new apartment and describes some of the paintings he owns: "Je
rassemble donc la baignade de Kvapil, les nègres de Le Scouëzec, la
marine de du Marboré, la Seine de Marcel Roche, mon dessin de Rossi, mes
aquerelles d'André Lhote, d'Echegaray, d'Ascher, d'Antral, mes peintures
de Valeusi, de Blanc-Gatté, de Kupka, auxquels j'ajoute mon portrait par
Gallien et une eau-forte aussi de Naudin." Beginning in 1934,
anti-parliamentarian activities attract his attention; he describes at some
length demonstrations and riots that took place in Paris during this period. In
1935 he is awarded the Légion d'honneur.
Box 2, Folder 1-4
1936-1938
Scope and Content Note
His lundis continue. In 1937 the following people attended the
first lundi of the year: Kvapil, Jacques Faneuse, Girard-Mond, Lotiron,
Hélène Marre, Charles Barzel, Rathier-Heekeren, deux demoiselles
Gérin, Gaston Chopard, Lemar, Dr. Charles Bardon, Madeleine Vaury,
Pierro Fleury, Myr Dièse, the Sardins and the Pierrets. Turpin details
his activities as well as the minor political battles of the various syndicats
or unions in which he is a member: Comité de l'association de la Press
artistique, le Comité de la Société des gens de lettre,
Comité du Trait. Sometime in 1938, his lundis seem to change to
dimanche. As an art critic, Turpin spends considerable time with his artist
friends in their studios. He describes a particularly interesting visit that he
made to Marc Chagall's studio on October 6 of 1938. During this time, he
remains on intimate terms with the following artists and literary people:
Marcel Roche, Jean Peské, Georges Capron, Kupka, Germain Delatouche and
Albert Sardin.
Box 2, Folder 4
Ephemera from the 1938 diary,
1938
Scope and Content Note
newspaper clippings, invitations to openings, ballots and vote
tallies for various committees to which Turpin belonged.
Box 3, Folder 1-4
1939-1942
Scope and Content Note
The journals of these years are divided between an attempt to
continue his literary and artistic activities and the War. At the time of the
German invasion of France, he describes in dramatic detail his flight from
Paris. Upon his return, he loses his job at
Le Matin, forced to take early retirement on a
paltry pension. Despite these hardships, he continues his work as an art
critic: going to exhibits, writing catalogs, participating in the activities of
the Comité de la Presse artistque and Trait and frequenting auctions
particularly the one at the Hôtel Drouot. By 1942, there are fewer and
fewer entries while at the same time it's clear that he is still working,
thinking, observing. One entry is particularly disturbing: "L'étoile de
Judée fleurit sur les corsages des jeunes juives comme un soleil. Leur
jeunesse la fait rayonner. Mais sur le couplet des hommes elle est-là
comme une marque d'infâmie voyante comme un Nº de forcat, une
étiquette de bagne. C'est aujourd'hui, dimanche, que les juifs doivent
porter cette marque distinctive de leur race." (6/7/1942). He continues to see:
Sarradin, Kustler, Fegdal, Cheronnet, Herviau, Serruys, Mille, Guillomet,
Herbo, Zwigg, Fautrier and Peské.
Box 4, Folder 1-6
1943-1946
Scope and Content Note
As the Liberation approaches Turpin's journal entries increase.
He recounts both the political events that transpire during this period as well
as the intense artistic activity. At one point in 1944 he remarks: "La vie
artistique à Paris est tellement intense que le critique n'a plus le
temps de visiter toutes les expositions." From an art historical perspective,
the months immediately following the Liberation are of particular interest.
Turpin describes the attempts to return to "normality" after the War. As a
member of the jury for the Salon d'Automne, he relates the confusion felt by
many in regard to what before the War had been "purely" esthetic concerns. Now,
politics infuse every choice and decision as commissions d'épuration
were formed to settle accounts. Throughout this difficult period, his Sunday
gatherings seem to have continued. One Sunday in 1944, the following people
attended: Fleury, Pétigny Mouteil, Jacquemot, Peltier,Gilbout-Privat,
Grenelle, Juan, Sardin, Cavaillon, Carmus and Mascart.
Box 4, Folder 4
Ephemera from the 1945 diary,
1945
Scope and Content Note
includes news paper clippings, exhibitions announcements as well
as ballots for various committees and tallies.
Box 4, Folder 6
Ephemera from the 1946 diary,
1946
Box 5, Folder 1-4
1947-1949
Scope and Content Note
Age, death and the passing of an epoch inform many of the
entries during these years. He describes one of his Sunday gatherings in 1949
as: "un rendez-vous de veuves et de vieilles filles appartenant au monde des
Arts." Despite these feelings of sadness and loss, he remains faithful to his
task as a chronicler. He goes to openings, auctions at the Hôtel Drouot
and cocktails for his artist friends, all the while sketching little vignettes
of the people who attend and the conversations overheard. Similarly, he remains
in close contact, often visiting their studios, with certain artist friends
such as Rouben, Maillot, Delatousche, Tourte, Cavaillon, Zadkine, Roche,
d'Espagnet and Peltier. He completes two books during this period:
Nakache and
Panorama de la Peinture française de XX e
Siècle
. Nevertheless, it is clear to him that a very different
world is emerging. For instance, as an indefatigable champion of the peintres
bretons, he oversees the donations of two landscapes by Léon
Duval-Gozlan to the Musées de Provinces that are, in the end, rejected
and returned, provoking the following comment: "Les jeunes conservateurs
sortant plus ou moins de l'Ecole du Louvre, bien stylés, ont plus de
goût pour les abstractions comme des disciples de Picasso..."
Box 5, Folder 4
Ephemera for the 1949 diary,
1949
Box 6, Folder 1-5
1950-1952
Scope and Content Note
These last three years of his life are filled with sorrow caused
by the death of his wife Gaby. For the first time, matters of a much more
personal nature enter into the journals: description of Gaby's illness and
eventual death, visits to the cemetery and feelings of loneliness.
Nevertheless, he continues professional activities. These pages are filled with
detailed descriptions of the meeting of the Salon d'Automne, Comité du
Trait and the Syndicat de la Presse artistique. After visiting with Marie
Laurencin, he reminisces about his first meetings with Apollinaire and his
circle. Throughout his long career, Turpin actively promoted engraving and
engravers. He recounts the nitty-gritty negociations that occur at one meeting
of the Commission de la Chalcographie at the Louvre in (6 Jun 1952). He attends
the openings of his artist friends such as André Fougera, Nakache,
Antral and Paul Signac.
Box 6, Folder 2
Ephemera from the 1950 diary,
1950
Box 6, Folder 4
Ephemera from the 1951 diary,
1951
Series II.
Letters,
ca. 1930-1952
Physical Description:
240 letters
Scope and Content Note
Series consists of letters
received from artists, critics, publishers, colleagues and friends. Dating
mostly from the 1930s, 1940s and 1950s, they concern reviews, exhibitions, sale
of paintings and publications. Several letters are in response to an
"enquête" for his "Stratégie artistique." Included are critical studies and eulogies, by Turpin, in manuscript.
Letters arranged in alphabetical order
