Why Olivier Masmonteil Trains Emerging Artists in His Paris Studio – ARTnews.com

In a lineage that features the likes of Tintoretto, Titian, and Rubens, artists have extended taken care of large studios, in which assistants—previously referred to as apprentices and students—helped execute these famed Outdated Masters’ major commissions in buy to maintain up with need.

With a crew of just about 10 men and women, Paris-based artist Olivier Masmonteil is next that instance, as a single of the very last peintres d’atelier in France. The impulse stems mainly from his adoration and respect for Aged Masters, but is also pragmatic as it makes it possible for him to maintain up with an expanding total of commissions due to the fact 2016. But most significant to Masmonteil is the palms-on knowledge that the rising artists he employs get even though working in the studio.

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Right after rising up in France’s central Corrèze section and finding out at the École des Beaux-Arts in Bordeaux in the late ’90s, Masmonteil still left France to invest a 12 months at the previous cotton-mill Leipziger Baumwollspinnerei in Germany, in which he came into call with artists Neo Rauch, Tim Eitel, Tilo Baumgartel, typical bearers for the New Leipzig School. He soon returned to his property region in advance of touring close to the entire world 2 times amongst 2008 and 2012. Those travels gave rise to 1000’s of smaller landscape paintings that initially introduced notice to the artist.

Also in 2012, Masmonteil started out a series of homages to the likes of Titian, Vermeer, Courbet, and other Outdated Masters, copying their operates and incorporating many levels to them to develop a sequence identified as “La Mémoire de la Peinture” (Memory of Painting), like a flamboyant edition of the already exuberant Entrée d’Alexandre dans Babylone (Alexander Moving into Babylon) by Charles Le Brun, the leading peintre du roi (Initially Painter to the King), that Masmonteil has turned into a triptych.

A triptych of three canvases showing slightly abstracted paintings that show Alexander entering Babylon below and have various layers on top on them. The three works are installed in a gallery with a concrete floor.

Olivier Masmonteil, Alexandre à Babylone I, II, and III, 2018–22, installation view, at Fernet-Branca Foundation, Saint-Louis, Switzerland.

Photo: Pierre Douaire

Some of these personalised copies, including  Masmonteil Alexandre à Babylone I, II and III, are currently on perspective at the Fernet-Branca Basis in Saint-Louis, Switzerland, which is liable for the artist’s very first institutional solo present in 20 years. During the press view in advance of Art Basel, Masmonteil proudly gave credit score to those who have helped him together the way, setting up with master printer Emmanuel Mattazzi, who has identified a way to make serigraphs with oil fairly than ink specially for Masmonteil. Alongside one another they worked on a series titled Les Demoiselles retrouvées (The Rediscovered Youthful Girls), which attributes female figures gracefully fading into or out of a furnished history, in some cases juxtaposed on to a landscape, all as a way of “recovering [the canvas with various layers] to unveil.”

“When I wander about the Louvre, I want to be element of the background that hangs on the walls”, explained Masmonteil, who generally retains in mind that Rubens had about 250 men and women lending him a hand. The passionate peintre d’atelier refers to his assistants as collaborators.

Masmonteil’s initially assistant, Nicolas Marciano, landed in his studio in Saint-Ouen, to the north of Paris, in 2017. His arrival coincided with Masmonteil’s first commission from chef Yannick Alléno to lead to the design and style of the Pavillon Ledoyen, a 3-Michelin-star cafe situated upcoming to the Petit Palais in Paris. “At initial I was not positive how a lot his presence would trouble me. There is one thing so sacred about art in France, that it need to be the perform of one particular person,” Masmonteil stated. “After permitting Nicolas sq. the canvases up, put together the backgrounds, use the very first layers—tasks I usually enjoy—I quickly realized they would benefit him much more. That’s how our collaboration started.”

A painting by Rubens of nude figures in a pastoral landscape that has been abstracted by a repeating pattern over it.

Olivier Masmonteil, Rubens dans une-rivière, 2022.

Picture: Aurélien Mole

By the time a commission came from the St. Regis Venice for Masmonteil to generate his own interpretations of Tintoretto’s masterpieces in the Palazzo Ducale, Nicolas was by now standing on his own two toes, ready to consider the lead in the paintings’ fabrications. Former artwork instructor Lara Bloy, who now oversees the studio, soon joined. She was adopted intently by Alexandre Lichtblau, a painter who can now pay for to get the job done only twice a 7 days as a dentist. (Masmonteil was so struck by his software that he felt it extremely hard to turn the budding artist down.) And lastly the group was joined by 24-calendar year-outdated Agathe Chebassier, the youngest of the group, who was to enter the École des Beaux-Arts in Marseille but made the decision to study less than the aegis of an established artist like Masmonteil rather.

With the responsibility of ripe talents on his shoulders, Masmonteil had to inventory up on supplies (academic plasters, extra paint, brushes) and make a in-depth but well balanced program with slots devoted to his jobs and free of charge time for them to locate their creative voice. On Thursday mornings the complete studio is invited to draw nude styles. “They have all been woman so considerably but we will also have male sitters coming into the studio from September onward,” claimed Masmonteil, who is determined to give his pupils the finest training there is. Those people classes ended up proven many thanks to Lichtblau, who taps into his contacts from his time at the Académie de La Grand Chaumière starting in 2017.

“Sure, the much more we are, the speedier we can get the job done but I mainly love instructing, sharing my expertise with a more youthful technology, helping them get rid of the stereotypes that had been imparted to me when I commenced 20 several years in the past,” Masmonteil claimed. “When I was their age, I was told that portray was dead. There were being no painting lessons at the Beaux Arts in Bordeaux. I experienced to teach myself how to use a brush, by looking through, observing, helping restorers and copying aged masters, which I nonetheless do.”

A painting that shows a composite of three nude women, a modern architecture house, and a body of water that are layered on top of each other in a translucent way.

Olivier Masmonteil, Baigneuses sur la fontaine river, 2017.

Courtesy Olivier Masmonteil Studio

By finding Masmonsteil over seemingly additional prestigious universities, his collaborators say they have deliberately signed up for the college of everyday living. “We are learning from the aged masters he has us copy but also from him though doing work on his projects. And I have time to develop my individual figurative method on the aspect,” explained Bloy, who also maintains a studio in the same creating as Masmonteil’s.

“Not only do we learn how to extend a canvas, but also how to deal with galleries, mount an exhibition, issue an invoice,” Chebassier said. “There is no just one else a lot more pedagogical than he is.”

If Masmonteil’s studio were at any time to undertake a motto, as other artwork colleges have, it would possibly be “There is energy in unity,” he explained.

Included Chebassier, “I know art college students who complain about getting remaining to their very own products though we, on the other hand, are usually aiding each individual other out. This sort of synergy is, I believe that, rather exclusive in France.”

“Those artwork students, relying on regional authorities and FRACs [public regional collections of contemporary art], remain somewhat isolated,” Lara explained. “We, on the opposite, operate as a collective, normally showing a united entrance. I grew up in the South of France wherever artwork was not regarded as vocation material. I am glad I did not listen.” Earlier this calendar year, she sold a painting to genuine estate and finance tycoon Paul Talbourdet, just one of Masmonteil’s most frequent customers.