Pierre Dumont
(1884 - 1936)

Pierre Dumont was born on March 29, 1884, in the 5th arrondissement of Paris, at 5 rue Flatters. He was the fourth and last child; two of his three sisters died around the age of twenty. His father, Arthur, a Professor of Natural Sciences, was transferred to the Lycée Corneille in Rouen for the school year 1884. After his primary education, it was at the Lycée Corneille that Pierre Dumont got to know Robert Antoine Pinchon and Marcel Duchamp, and all three studied under Philippe Zacharie.

This young boy, whose inclination towards the arts and painting were rapidly manifested, faced tremendous opposition from his father, who was a free thinker and atheist. His father, unhappy with his teaching post, worked assiduously at his medical studies, at which he would be successful, and he hoped that his son would follow the same route.

Dumont’s very first paintings were influenced by Delattre, whom the young art students respected and listened to. But Dumont very quickly turned towards color, while his father kept on insisting that he study medicine. The young man fled to Paris, lived at “La Ruche” (“The Beehive”), surviving on scraps of food. Worn out, he decided to sell his mattress, which he brought to a second hand dealer. Dumont collapsed from the effort and hunger. His father was alerted and came and collected him, and finally gave in to his son’s desire to paint.

Dumont visited the municipal exhibitions of 1903 and 1906 at Legrip, the first exhibitions of Frechon, Delattre and his friend Pinchon, and probably the “Salon d’Automne” in Paris. His first cavanses, six, were exhibited in February 1906 at Galerie Legrip, and La Broue wrote “...the public is unjust about these crude and brutal canvases, which it still doesn’t understand”. When Dumont was 22, he held his first individual exhibition at Legrip, from October 8 to 20 with 18 canvases, where his fiery temperament as a colorist was confirmed. He took part in the first exhibition of the Society of Rouen Artists, which took place from April 7 to May 5, with 8 canvases: 3 portraits (the painter G. Gosselin, the writer A.M. Gossez and the caricaturist C. la Broue) and 5 landscapes, of which 2 were scenes of Rouen: Rue de L’Epicerie and Pont Corneille. Of these paintings, G. Dubosc wrote in his Journal de Rouen on May 3 “...Pierre Dumont still does not seek his official ratification. With his avant-garde temperament, full of audacity and daring, a little bit the enfant terrible’ in an individual exhibition, he had already shown, not without excess, the qualities of a painter...”.

When the fauve movement ran out of steam, when Picasso painted Les Demoiselles d’Avignon, Dumont was disappointed by the ambiance of the Salon and took it upon himself to create a parallel salon, much more representative of the pictorial evolution. The “XX” had seen the light in Brussels under the impetus of Octave Maus, attorney, journalist and art critic. Dumont reunited a Group of XXX painters and writers. The first exhibition was held at Galerie Legrip from October 29 to November 12. In the preface of the catalogue is written “...those who evolve deserve attention even if not sympathy. To refuse it to them is to deny a blade of grass the right to grow and a seed the right to germinate...” Among the 40 numbers in the catalogue that Dumont exhibited was Portrait of Mme. G., The Garden (landscape) and Still Life.

Four days after this exhibition closed, 63 artists associated with and seeking a provincial “Salon d’Automne” were once again at L’Ami des Arts and Dumont was with his friends of the “XXX”.
In February 1908, the original paintings of the 1908 Almanach, carried out the “XXX”, were exhibited at Charlet. Then Dumont was present at the second “Salon of Rouen Artists” with seven paintings, a salon which he then left and did not return to until 1919. At the end of the year he exhibited at the “Salon d’Automne” in Paris. Then 3 cathedral paintings at the Galerie Legrip, while Frechon and Vignet were jointly exhibiting at Place St. Amand.

At the beginning of January 1909, in this same gallery there was an exhibition of modern painting and Ernest Morel wrote: “...Legrip, which welcomes all types of artistic endeavors is currently the setting of an exhibition which will cause quite a stir. Seven Rouen artists and one Parisian have combined 24 canvases, one drawing and a bust, before which we will hear lots of ridiculous reflections...”. Dumond exhibited there a cathedral and a still life. The artist then turned his attention during the first six months of that year to writing the statutes of the “Society of Modern Painting” which became official on June 25, 1909. Then a new special exhibition at Legrip, where Dubosc and Morel noticed several canvases including his cathedrals and his Pines at Varengeville. His friend La Broue wrote: “...his activity is proverbial in the world of regional paintings. His creative force has no equal except his power of destruction. At its foundation, he was one of the most active members of the Society of Rouen Artists; the courage and the eagerness with which her seved them was matched only the eagerness with which he broke them up...”.

For such a resolute spirit, a new battle began: the “Society of Modern Painting” opened its first exhibition in Rouen on December 20 at 65 rue Ganterie. Elie Faure is the author of the preface of the catalogue. Several visitors went to this exhibition, among those present were Tirvert with his temperament of ardent colorist, A.M.Le Petit, son of the caricaturist, T. Earl Butler, M. Duchamp, Lieucy, and J. Texcier. Taking up again the formula of the “Salon des Artistes Rouennais”, several musical and literary performances completed this exhibition. G. Dubosc in the Journal de Rouen and E. Morel in the Rouen Review, took notice of this, and the latter wrote” “...The exhibition will certainly make a lot of noise in the world where they take pride in artistic acquaintances...”.

Apart from these two daily papers, there was no other Rouen newspaper open to poets, painters and musicians. On May 28, 1910, Dr. A. Thibault founded the Rouen-Gazette, an enthusiastic team and with the following collaborators: A.M. Gossez, Fr. Yard, Ph. Lebesgue, G. Reuillard, and P. Varenne, who would transcribe, dictated to by Dumont, an article about J. Villon. A little while later Dumont sent four canvases to the Salon des Indépendants.

Admitted two years previously to the Salon d’Autmone, he sent three canvases and he had the pleasure of reading A. Alexandre, critic of Figaro, praising him: “The paintings of flowers this year are scarce and not very remarkable, except those of Dumont which are of a rare and powerful seduction...”.

From February 23 to March 9, 1911, he exhibited 22 canvasses, including portraits (Dubosc, Rambert, Dupin, Weill, Yard, Pinchon, Lieucy), landscapes (fir trees in Varengeville) and still life (Augbergines) at the Galerie Legrip.

Through the intermediary of Marcel Duchamp, Dumont got to know Guillaume Apollinaire. This same year, he sent six canvases to “Salon des Indépendants”. In May, the second exhibition of the “Normandy Society of Modern Painting” took place in Rouen at rue Gros-Horloge. Dumont exhibited two canvases: a landscape and the portrait of Pinchon.

Dumont was then a Parisian living at “Bateau-Lavoir”, and frequented the painters of renown, and it was in this way at “Salon d’Automne” that Dumont presented Francis Picabia to his friend Marcel Duchamp. These two artists would meet again from November 20 to December 16 at the Gallery of Ancient and Contemporary Art, at the exhibition organized by Villon and his brother, Duchamp. Dumont sent three works: painting, still life and study. Marie Laurencin, Gleizes, Picabia, La Fresnaye, Léger, Metzinger, Dufy, Duchamp and Villon were among the exhibitors.

In 1912, after the “Indépendants” where Dumont exhibited only one canvas. On June 15, the third exhibition of the “Normandy Society of Modern Painting” took place in Rouen, in the vast skating arena at L’Ile Lacroix. An important catalogue was edited with two prefaces, one by Elie Faure, and the other by Raynal, consecrated to the study of cubism. As well as artists of renown, Apollinaire also attended. His lecture took place in front of an attentive but restrained audience and Morel added: “...Apollinaire speaks slowly, stops between each word and what would normally take ten minutes, lasts an hour...”.

In Paris, from October 10 to 30, after a “Salon d’Automne” was held at the Gallery La Boétie, there was an exhibition called “Gold Section” (this name is borrowed from the treatise of a monk from Bolognia, called Luca Pacioli, published in 1509 and illustrated by Leonardo da Vinci). The works of Dumont were among those of the greatest names: Duchamp, L’hote, Picabia... A small newspaper saw the light of day: “Gold Section”, the special number was devoted to the exhibition where Dumont hung three works: a “Cathedral”, a “Still Life with Physalis” and a composition, manifesto canvas of the exhibition. This edition of the newspaper was unique and was decorated with a head line by Apollinaire: “Young painters, don’t get upset!”

In August 1912, the Rouen artists buried Delattre and during this time, in Paris, Dumont explored Montmartre, discovered all its charms and transposed this universe onto his canvases - “Sacré Coeur”, “Mimi Pinson’s House”, Berlioz’ House”, Moulin de la Galette”.

After his participation in the “Indépendants” with three canvases, not forgetting his adoptive town, he returned in May 1913, for the 4th Exhibition of the “Normandy Society of Modern Painting”, at salle Boieldieu, and exhibited five still lifes and a landscape. The rest of the year was spent preparing for his first individual exhibition in Paris at Galerie Charles Malpel, 15 rue Montaigne. The catalogue had a preface by A. Tabarant, and 68 numbers. Several portraits: Apollinaire, Bolatre, Pinchon, 12 Rouen cathedrals and 6 “Cucufa Pont”. Tabarant concluded, “ And shouldn’t we place a lot of hope on an artist, who, not content with having a great deal of talent, possesses an abundance of verve towards his work, this invincible Normandy tenacity, which the worst hostility of life will never find at fault...” This exhibition was a success and Dumont started to sell. He then took part in the “Indépendants” and stayed in Rouen where, on June 6 at 141 rue de la Grosse Horloge, the opening took place for the last exhibition of the “Normandy Society of Modern Painting”.

Side by side with Jean Dufy, Guillaumin, Luce, Utrillo, Vlaminck, some faithful and wise Rouen artists swelled the ranks: Couchaux, Guilbert, Hodé, Louvrier and Tirvert. Dumont exhibited at least ten canvases, four Rouen cathedrals, 1 “Rue de l’Epicerie”, the portrait of Fauchois and that of Franz and three still lifes.

A violent quarrel pitted Pierre Dumont and Maurice Louvrier in the Avant Garde movement of Normandy, where you could read the accounts of the exhibition with a warning from the critic, Jean Laurier “of the danger which threatens it at this time, that is of wanting to present itself to the public with the same frills which makes the Rouen Artists ridiculous to me....” The reply from Dumont was immediate. “M. Jean Laurier, as everyone knows, has constantly poked his nose in all the realism of Art. M. Jean Lauarier, one bright morning, found himself a new vocation, to add to his so fruitful career, and he still finds himself able to add more: Master Jacques will return his painter’s smock, the next day an art critic is born, what a god send....”

Surviving the war, Apollinaire and Gris got into the fight, Hode, Max Jacob and Dumont formed up again, the “Bateau-Lavoir” group broke up. In a letter to Pinchon on October 18, 1914, Dubosc wrote: “A month ago, I met Dumont, who had not been effected, and who was preparing to return to Paris, a little disconsolate for ‘modern painting’ was selling mainly to Germans... and the market was closed...”

Dumont, a generous man, organized an exhibition in November 1915, “For the soldiers, for the artists” from about twenty paintings which he donated including a vigorous sketch “Quais de Rouen”. Dumont gathered together practically all the Rouen artists, solicited generous collectors, and finally begged for the rooms of the “Salon of Rouen Artists”. The State bought Dumont’s canvas.

One year later, Dumont went to Rouen for the exhibition of Belgian war wounded. There he found Pierre Varenne, exempt from service, and Dorival, who was mobilized. Dumont sent three works among the 540 which made up the exhibition, marked by the tragic death of the poet E. Verhaeren. In 1918, Dumont left his modest atelier and moved into 1 rue d’Orchampt, and his companion Yvonne gave him a daughter Pierrette.

In 1919, Dumont again sent three canvases to the “Indédpendants” - one “Rue de l’Epicerie” and two still lifes. On May 7, at the sale of the “Bataille a Rouen” collection, a “Rouen Cathedral” was sold for 425 Fr and “Haute-Vielle-Tour” sold for 400Fr. He started sending canvases again to the “Salon of Rouen Artists”, and held his second individual exhibition at the Galerie Terrisse at 94 boulevard Haussman in Paris, which was a resounding success. There he met Renée Puechmagre, the daughter of an illustrator killed at the beginning of the war.

In October, several of Dumont’s canvases were exhibited at the Galerie Maury. On December 6 and 7 of the following year in the Auction House in Rouen the collection of Perrot was sold, the preface of the catalogue was written by Louvrier and Yard, who said “... Pierre Dumont soon revealed himself with all the qualities as leader of the group. It is thanks to him that the public in our area was initiated into the multiple movement of modern painting, we would even say ultra-modern. Dumont personifies energy. Assailed from all sides, he was ale to keep calm and to have the courage necessary to complete the work he wanted to accomplish. Today, by force he has achieved his place in Paris...” Among the 25 canvases of Dumont there were some well-known works and “L’Ile Duboc” which was reproduced in the catalogue was sold for 825 Fr.

In 1922 and 1923, he exhibited at the “Salon of Rouen Artists” which was at Gasny where he had bought a small house, and at the beginning of 1923, he traveled in Normandy, but he also returned to Marseille and in 1924 prepared his second exhibition at Terrisse. Comforted by this success, he moved into 86 boulevard de Batignolles and invited his old friend Varenne on March 5, 1926. “...Why don’t you come up...it isn’t far, and I would be so pleased to see you a little more often. I will tell you about my projects. I don’t go out except at night from my new atelier. You will see how nice it is and it allows me to do so many things....”.

Opportunity and quietude seemed to be linked for Dumont, and in June 1926, Decourcelle’s collection was sold in Paris, and four cavanses sold respectively for 1350, 1600, 1900 and 2100 Fr for “Fumees sur le Fleuve”. In October, when he faithfully returned to Rouen to paint some of his favorite subjects he met Louvrier. “... Pierre became pale, and his jaws contracted. He launched into sudden and unjust attacks against certain of his most faithful friends. I tried to calm him, telling him that he was mistaken. But he screamed and gesticulated, and soon was struck by an epileptic fit, and he fell to the ground...” The journey which had begun so joyously ended up in the hospital St. Antoine in Paris, where Dr. Plichet took great care of his friend and patient.

In January 1928, Dumont was completely recovered, and he started to paint again, life opened up again to him, and this return was nothing other than the grand consecration in one of the most prestigious galleries of the era: the Galerie Durand-Ruel where he exhibited from May 1 to 14, a total of 41 canvases chosen with great care by their creator; the paintings were done between 1924 and 1927 and are wonderful souvenirs of his travels: Rouen, Gasny, Honfleur, Les Andelys, Etretat, Cancale, Bordeaux and of course, Paris. The catalogue has a forward by Léon of the Comédie Française and a preface by Varenne. “The splendid artist whose canvases owe nothing to anyone, Pierre Dumont resembles no one but Pierre Dumont, he stands by himself, he is alone, as in his life...” He was, it is evident, a sick man, with a persecution complex so deeply rooted that he demanded Varenne to erase from his preface the names of his three Rouen friends.

However, his work continued and he traveled again to Gers with Croquez, then into the Pyrenees, to Cauterets, Gavarnie, Lourdes. He went to Holland, Bruges and visited James Ensor.

In February 1931, he accepted Armand Drouant’s proposal to hold an exhibition at 35 rue de Saine. Pierre Varenne visited him and found him “changed”. He spoke only with difficulty. Renée had to often finish the phrase that he had started. “I noticed that his hand was covered with warts and that it trembled...”. This was the last exhibition held while the artist was alive.

Dumont sent his last works to the “Salon of Rouen Artists” that same year. In 1933, his condition worsened and he had to go to Sainte-Anne Hospital from December 5 to 11 of that year, and once again he was cared for by Dr. Plichet. Unhappily he suffered his worst attack during his vacation in Gasny in 1934. He was taken back to Sainte-Anne on April 17, where he stayed for some time, his right hand permanently paralyzed and from this time he practically stopped painting. Mr. Georges Sporck put five of his paintings in the Musée Rouen.

Pierre recovered a little, and went back to life with his old mother at boulevard Raspail, then rejoined Renée in the atelier in rue d’Orchampt. He had another attack and was taken to Saint-Antoine. The couple had no more money, and the rent wasn’t paid, so Renée helplessly appealed to Varenne, who launched a poignant appeal on September 19, 1934 in Paris-Soir, an appeal which was taken up in the Rouen press by Delamare on October 11. There was great response to this appeal.

In 1935, a new crisis demanded his return to Saint-Antoine then to La Salpêtrière. He recognized no one but Dr. Plichet. His companion, Renée, worn out, died. On February 20, 1936 he was transferred from Saint-Antoine to Sainte-Anne and died on April 9, 1936 at the age of 52.

Translated from “L’Ecole de Rouen”
written by François Lespinasse