/// Georges JOUBIN ///
" Le Bateau Lavoir "
Original lithograph. Date 1952. 37x28cm.
Signed in the plate.
/// Biography of Georges JOUBIN ///
Painter. Digny (Eure-et-Loir) January 25, 1888 - Paris (14 °) February 8, 1983. Joubin began to paint very young. In 1906, he attended the Académie Julian, in the studio of Jean-Paul Laurens, then entered the Beaux-Arts in Paris in the studio of Gabriel Ferrier. He exhibits at the Devambez gallery, and has a studio in rue de la Gaîté. He then traveled around France in search of subjects, however a notable part of his work concerned Montmartre where, in 1912, he moved to 22, rue Tourlaque, in the city of Fusains, which he would never leave. In 1920, he started at the Indépendants, and in 1923, he exhibited at the “Eve Adam” gallery, at the same time as Pierre de Belay with whom he became friends.
Joubin is at the origin in 1929 of the creation of the ephemeral School of Montmartre with Asselin, Pierre Bonnard his neighbor, Capon, Corbellini, Creixams, Deslignères, Dignimont, Diligent, Guy Dollian, Tin Florias, André Foy, Frelezeau, Hensel , André Hofer, Leprin, Roland Oudot, Jules Pascin, Henri Rioux, Daniel Viau. The group exhibited in 1929 at the Brü Gallery, the following year at the Kleinman Gallery.
From 1929 to 1933, he traveled to the southwest. Joubin began in 1935 at the Nationale des Beaux-Arts, of which he became a member. In 1936, at the Indépendants, he exhibited “La Part de Cartes”, and in 1939 “Carrefour Drouot”. In fact, he exhibits in all the Parisian salons. The death of Von, his model and his partner, left a great void in his life, he retired to his studio for a year. The following year Joubin traveled and exhibited in Sweden. La Nationale awarded him the “Puvis de Chavannes” Prize for his body of work. He married on July 3, 1917 with Jane Aline Potin at the 17th century town hall and remarried at the 18th century town hall on June 21, 1947, with Julienne Clément. The Musée de Montmartre made him a tribute exhibition from December 1988 to February 1889 (catalog).
His painting is frank, colorful, and without nuances, without those passages dear to Bonnard and Vuillard, and frankly a little rustic; he often plays light and dark oppositions. Her nudes sometimes make one think of Eberl. The subject and the composition are always readable, which is without doubt what has always given him a large audience of amateurs.
Source: Dictionary of Painters in Montmartre.