Filippo Colarossi
Filippo Colarossi was an Italian artist's model and sculptor who founded the Académie Colarossi, Paris, in 1879–1880. He was born on 21 April 1841 in Picinisco, Italy and is claimed to have died on 25 August 1906 in Paris. However, Duval states that Colarossi died poor and alone in August 1906 in a little town near Naples. Émile-Bayard writing in 1927, tells that Colarossi and his wife (unidentified/unconfirmed second wife, the first died in 1896), having profited from the sale of a building plot in 1916, retired to Piscinisco, his natal village, where they presumably  stayed until their deaths. Fuss Amoré and des Ombiaux, also maintain that Colarossi returned to Italy. Writing in 1924, they say that Colarossi had recently returned to Picinisco, having sold some works by the artist James Abbott McNeill Whistler (1834– 1903). No female companion is mentioned in this latter source. Biography. Leaving Italy. Born to poor parents, farm labourer (It.: "contadino") Fiori Colarossi (1779–1853) and his wife Anna (née Ferri, b. 1811), Filippo Colarossi grew up in Piscinisco a small, hilltop village, south east of Rome, Frosinone province in the then Kingdom of the Two Sicilies (KTS). During the Unification  of Italy, the KTS fell to the nationalist, anti-papal, general Giuseppe Garibaldi's (1807–1882) troops, whereupon it was incorporated into the Kingdom of Italy and asset stripped. As a Catholic and loyal KTS royal marine, this was an unwelcome outcome to Filippo's elder brother Angelo (1836 -1916), so, in late 1860 or in 1861, they made their way, mostly by steam boat (Naples-Marseilles, then Avignon-Lyon), to Paris, France, to escape widespread poverty and obligatory military conscription. It seems another brother, Antonio (b. 1837), was waiting there to welcome and help them. Paris and modelling. The Colarossi  brothers left a life in rural Italy to start afresh in a foreign, capital city. Challenges such as the language, accommodation and paid work would have to be addressed. By chance, or perhaps by design, they had also arrived in Paris at an exciting and tumultuous time in the city's history. In the 1860s, the city was in rapid growth in terms of population, geographical boundaries, industry, commerce and cultural activity. Starting in 1853, Napoléon III (1808 – 1873) and his prefect of the Seine, Georges-Eugène Haussmann (1809 – 1891), had initiated an extensive series of public works projects to  clean up, rebuild and modernise the capital. Old blocks of buildings were demolished. High-rise apartment houses with classical facades, wide boulevards, new sewers and more were built. Like Antonio before them, both brothers soon found employment as models for artists. This was hard work as poses had to be inspiring and held for long periods of time. Nudity also conflicted with societal norms of modesty and propriety. Nonetheless, Filippo chose to remain a model in Paris, which was fast becoming the Mecca of the Fine Arts, while Angelo left for London, England, in 1864, where he continued his newfound  occupation and started a family. His son Angelo Colarossi Jnr., was also a model in London and posed for the sculptor Alfred Gilbert amongst others. Filippo became a very ambitious and successful model, not least at the "École Impériale des Beaux-Arts" on the Left Bank where he drew an annual, retaining fee of 500 francs. Here, he soon acquired the titles of "questeur des modèles" and later "chef des modèles." He was also a favourite model of the great classicist painter, Jean-Louis-Ernest Meissonier (1815-1891), who he met when staying at Saint-Germain-en-Laye to escape  the Franco-Prussian War (1870-1871) In what must have been a fraught and arduous life, Filippo also found time to marry and start a family of his own. On 21 July 1866, he married Ascenza Margiota (1847–1896), herself a model and native of Piscinisco. In April of the same year, their first child, Ernest Flore Colarossi (1866-1960) had been born. They later had two girls, Maria (1868-1913) and Malia (1871-1897), who both married artists. Colarossi's Academy - setting out. Ever ambitious, Filippo wanted to establish his own school where he could provide an art education for  the many students, male and female, that were flocking to Paris. Henri Duval writes that Colarossi had through 'economy and right living' saved the funds necessary to set up a school. He may also have had financial help as "The Artist - An Illustrated Monthly Record of Arts, Crafts and Industries" asserts that the wealthy Meissonier helped Colarossi to get started in an art school, perhaps by giving him an advance. So, Colarossi purchased the then renowned "Académie Suisse". This academy was established by the model and painter of miniatures Martin François Suisse (1781-1859) at 4, Quai des Orfèvres on  the Île de la Cité, Paris in 1817. In 1858, Suisse had retired and left his academy to a nephew, while remaining an honorary professor. However, it was the artist Etiènne Prosper Crébassol (1806-1883) that soon took on the ownership, certainly the running, of the academy, renaming it l'Academie Suisse-Crébassol. Suisse died in 1859 at his home, 78 years old. Passe writes that in 1876, that the "Ateliers de Dessin et de Peinture", were more-or-less limited to Julian's Academy in the Passage des Panoramas (see Crombie) and Crébassol's insufficient, little course in rue Gît -le-Cœur. He makes no mention of l'Académie Colarossi (see below), the renowned art school, so it is doubtful it had been established. Indeed, advertisements for the school did not appear in newspapers until 1882 and 1883. Furthermore, an article in "Le Petit Journal", 1882, refers to "l"a nouvelle académie libre"" Assertions of an earlier purchase date sometime around 1870, are made further implausible by the disruptions of the Franco-Prussian War (1870-1871) and the Paris Commune (1871). It would seem that Crébassol had moved the school to No. 12, rue Gît-le-Cœur, 6th arrondissement, over the river  from the Quai des Orfèvres. Passe further states that two years later in 1879 the aged Crébassol sold his studio to the Italian model and sculptor Filippo Colarossi (1841-1906) for the sum of 500 fr. Crébassol was by this time 73 years old and was presumably no longer able and/or willing to maintain his academy any longer. He died at home in 1883. Colarossi first renamed his acquisition "Academy of the Rose", later renaming it "Académie Colarossi". In 1881, he transferred its premises to 10 rue de la Grande Chaumiere in Montparnasse (6th arrondisement). where he had added six  studios to his newly acquired rear courtyard premises behind a certain Miss Bonnefoy's grocery-store. He was also to establish annexes, for example, at 96 Rue Blanche (9th arrondissement), 13 Rue Washington (8th arrondissement), and, most prominently, at 43 Avenue Victor Hugo (16th arrondissement). Colarossi Academy is up and running. Colarossi wanted his academy to be a progressive school where one could get training that was not available at the more conservative École. Women and men could share classes, and women were also allowed to draw and paint nude models, both male and female. Colarossi was from the start  a firm believer in mixed classes as it was an advantage to both men and women to be able to watch, compare and discuss each other's work. There was no entrance exam, but there were fees to be paid. Here, equality between the sexes was less apparent. Most schools demanded higher fees of their female students, than their male counterparts. For example, to study at the Colarossi Academy, Rue de la Grande Chaumière the following fees applied in 1887: The usual explanation for the difference was that the attendance of women could not be relied upon. Women often remained  for a month or two, but men tended to stay for years, many having the intention of seeking entry to the "École des Beaux Arts". Most women were not studying professionally, so their luxury was set at a higher price. It must be remembered that only in 1897, after a long and heated campaign by activists, were women finally allowed to sit the "L'École Nationale Supérieure des Beaux-Arts de Paris" entrance exam and perhaps be one of the few to study there for free, albeit with some restrictions. In 1900 female students were admitted on a more-or-less  equal footing with male students, though they were not allowed to enter the competition for the prestigious Prix de Rome until 1903. Notable students of the academy included Paul Gauguin (1848–1903), Claude-Émile Schuffenecker (1851–1934), Helene Schjerfbeck (1862–1946), Camille Claudel (1864–1943), Alphonse Mucha (1860–1939), Paula Modersohn-Becker (1876–1907) and others. Colarossi's considerable experience and status as a leading model allowed him to recruit the best of models, many from his native Abruzze region in Italy. Penelope Little states that Colarossi actively enticed his impoverished countrymen to Paris where they could provide a constant and plentiful supply of affordable "modelos ." In 1880, a list of models in Paris recorded that of 671 models, 230 were Italian, the rest being of various nationalities. Italian models were not just admired for their looks, but also their tractability, ability to hold the pose for long periods and dedication. Their willingness to accept lower fees was also exploited. Colarossi's compatriots became very popular models for thirty or so years before their fortunes slowly began to wane due to the move from classicism to realism in art. Every Monday for many years there was a picturesque queue or throng of such models outside No . 10 known as "Le Marché aux Modèles" that extended from the academy's courtyard, through the passageway and well out into the street. Men, women and children sporting a variety of attire from mundane city rags to traditional costumes waited and hoped to find employment for the week knowing that they could receive more pay than in other schools. Colarossi also employed some of the best artists to teach at his academy. In the 1880s and 90s for example, they included painters Jules Bastien-Lepage (1848–1884), Gustave-Claude-Etienne Courtois (1852–1923), Raphaël Collin (1850–1916), Louis-Auguste Girardot (1856–1933), René-Paul  Schützenberger (1860–1916), Jean-André Rixens (1846–1925) and Édouard Debat-Ponsan (1847–1913). His sculptors included Alexandre Falguière (1831–1900), Jean Antoine Injalbert (1845–1933) and Alfred Boucher (1850–1934). These artists were academically trained, but did not impose any academic orthodoxy. They would visit twice a week to give their criticism on the work of each student. All students were taught by a number of teachers, and allowed to nurture any personal character or originality they might have. Colarossi and his teachers also socialised with students outside of the academy, at bars, restaurants, parties, exhibitions etc. He would often invite students to his country  place at Fontenay-aux-Roses to eat and discuss Art. Colarossi did everything he could to ensure his own personal happiness and success. He believed that his academy was blessed from on high and was destined for glory. Since its first incarnation as "Académie Suisse", many of its students, like Gustave Courbet (1819–1877) and the Impressionists, had become great artists. These, he believed, kept a protective eye on the academy from heaven. On Earth, he was proud of the fact that he had the pick of the best Italian models and talented teachers who took great pride in doing their  utmost for the school. Thus, the living would also assure his academy's good fortune. Writing in 1889, French's view is more down-to-earth: "The heads of the private schools, …, are not distinguished artists at all, but rather business men, managers of tact and address. Colarossi is an Italian and was formerly a model in the art schools. He is a cordial, business-like man, and does some modelling in clay. His evening classes are much frequented." In reality, though Colarossi's academy became a great success, it was not all plain sailing. Writing in 1890, Harrison asserts  that the academy was reduced to half its former size by the draining influence of its great rival, the Académie Jullien "[recte Académie Julian]", whose paid professors dominated the Salon and favoured Julian's 600-800 students. An artist in his own right. As hinted above, Colarossi also became an artist; no doubt availing himself of the excellent teachers at his own academy. Under the name of Philippe, or Filippo, Colarossi, he exhibited sculptures at: So, not only could he advise on posing the academy's models, he could now help to nurture his students' artistic talents. In 1889, a  Miss B.-M. Ross who studied in Paris and exhibited at the Salon of 1889 says of Colarossi: "Our critics were among the best artists of France. Monsieur Callarossi "[sic]", at the head of the school, is a sculptor of some little note in Paris. His works appear year upon year at the Salon. He rose from a model and has made himself universally beloved by the students by his sympathy with their work and his way of dealing. …" In 1884, Colarossi became a member of "L'Association des Artistes," a non-profit foundation launched by Baron Isidore Taylor (1789–1879) in 1844  for the protection and assistance of artists. The association was one of the most prestigious bastions of the "Beaux Arts" and membership was a way of obtaining affirmation of one's artistic credentials and finding new contacts to further one's ambitions. Colarossi takes to two wheels. Colarossi's life was demanding, however he did find time for recreation. In the early 1890s, he developed a passion for cycling which was experiencing a boom resulting from several significant technical developments in bicycle design. In 1893, he and some of his students organised a 40 km, summer, bicycle race for painters , sculptors and architects under the patronage of "Le Vélo" and "La Bicyclette" newspapers. It came to be known as ""La Course des Trois Arts"". Colarossi was the organising committee's treasurer, while artists Carolus Duran (1837–1917), Courtois and Alfred Philippe Roll (1846–1919) were honorable presidents. The races were primarily for amateurs, but some professionals like Henri Farman (1874-1958) and G. Lambert also participated. Prizes such as medals, journal subscriptions and tyres could be won. In 1895, Colarossi offered a term at his academy as a prize. Though in his early fifties, in 1893 and 94, Colarossi paid the 5  francs entry and took part in the race. His finishing times are not recorded. He also took part, along with others, in a twelve hour, endurance match against the noted journalist and cycle racer Edouard de Perrodil (1860–1931) For Colarossi, the bicycle may have had its quotidian uses in getting around Paris, as in 1895, he was spotted riding a bicycle through the Bois de Boulogne, not far from the his academy's premises on Avenue Victor Hugo. Not one to miss a celebration, Colarossi also attended the festive, post-race banquets that were held for participants and organisers after  each race. His son, Ernest Flore, engraver and pupil of Paul-Edme Le Rat, was present in 1896. Colarossi and his academy continued to play an active, organisational role until the last "Course des Trois Arts" in 1898. The good life and decline. Inevitably, success changed Colarossi and he became something of a bohemian or "bonvivant" who cultivated the appearance of an aristocrat. The robust, hard-working model and renowned, art-school proprietor, began to stroll the boulevards, to frequent chic cafés and develop a penchant for English clothing. He indulged in those pleasures that Paris could offer those with  money to spare and an easy conscience. Despite the fact that his academy was as popular and remunerative as ever, the high life of women and drink began to take its toll. But, it was Colarossi's betting on horses, with disastrous results, that forced him to close the academy's doors in the winter of 1901-1902. Duval reports that, "At the time of his death, the academy was and still is being run for the benefit of his creditors, according to the French law." On 19 March 1910, the financially embarrassed academy, was advertised as being for sale  on 18 April for the sum of 10,000 francs. Seemingly, Colarossi's son Ernest found the necessary capital, as he is recorded as succeeding his father in "Le Courrier", a daily journal of judicial and legal notices, also on 18 April. The academy certainly avoided closure as there were classes in November 1911, and Ernest is recorded as being very much in control of the academy in 1912. Various online sources state that Madame Colarossi (his second (?) wife) burned the academy's priceless archives in retaliation for her husband's philandering and that the academy subsequently closed in the 1920s  or 30s. The first claim regarding the archive is entirely anecdotal reiteration and is not supported by any references. The dating of the academy's closure is simply incorrect. It was still open and very active in the 1940s and 50s.