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scenes to place the women in his life on center stage.
Either through foreground placement or by putting them
in focus, numerous photos exist of the two infatuations
of Vuillard’s life: Misia Natanson and Lucy Hessel. The
artist’s mother, however, was the subject he shot most;
it was also she, often more than the artist himself, who
frequently developed his photographic works.
Vuillard did not exhibit his photographs during his
lifetime. They have predominately been hidden from
public view in family archives until over 80 were re-
vealed in the international 2003 Vuillard exhibition.
A catalogue raisonné of all photographs in the family
archives is forthcoming.
Debbie Gibney
VUILLARD, ÉDOUARD
Further Reading
Easton, Elizabeth. “The Intentional Snapshot” and Catalogue
166–253 in Guy Cogeval, Édouard Vuillard, New Haven and
London: Yale University Press, 2003 (exhibition catalogue).
Kahng, Eik. “Staged Moments in the Art of Édouard Vuillard,”
in Dorothy Kosinski, The Artist and the Camera: Degas to
Picasso. New Haven and London: Yale University Press, 1990
(exhibition catalogue).
Easton, Elizabeth, “Vuillard’s Photography: Artistry and Ac-
cident.” Apollo, vol. 138 (June 1994), 9–17.
Easton, Elizabeth, The Intimate Interiors of Édouard Vuillard,
Washington: The Museum of Fine Arts Houston, Smithsonian
Press, 1989 (exhibition catalogue).
Daniel, Émilie, “L’Objectif du subjectif: Vuillard photographe,”
Les Cahiers du Musée national d’art moderne, no. 23 (Spring
1988), 83–93.
Salomon, Jacques and Annette Vaillant, “ Vuillard et son Kodak,”
L’Oeil, no. 100 (April 1963), 14–25, 61.