1888 -1935 · Marthe, Élisabeth, artists and self-portraits

Denis paints his loved ones, his friends and himself by linking resemblance and decoration: face, clothing and background make up an intimate but carefully ordered presence.

The portrait of Maurice Denis is often born in his family and artistic circle. From adolescence, he represented himself and observed the loved ones who accompanied his training. At the Académie Julian then among the Nabis, the portrait became a field of synthesis: the model remained recognizable, but the outline, the flatness and the rhythm of the decor took on as much importance as the volume. Marthe Meurier, whom he married in 1893, appears in numerous paintings, sometimes in profile, sometimes repeated in several aspects as in the Triple Portrait of Marthe Fiancée. Portrait of Marthe Denis, whom he married in 1893, appears in numerous paintings, sometimes in profile, sometimes repeated in several aspects as in the Triple Portrait of Marthe Fiancée. Portrait of Marthe Denis, whom he married in 1893, appears in numerous paintings, sometimes in profile, sometimes repeated in several aspects as in the Triple Portrait of Marthe Fiancée. Portrait of Marthe Meurier, whom he married in 1893, appears in numerous paintings, sometimes in profile, sometimes repeated in several aspects as in the Triple Portrait of Marthe Fiancée. Portrait of Marthe Meurier, whom he married in 18 marriage, Élisabeth Denis in turn becomes a major model; Lisbeth's portraits in blue use clothing as a large colored surface. The Self-portrait in front of the Priory, painted in the residence-workshop acquired in 1914, associates the identity of the painter with his place of life and creation. Denis also represents Edgar Degas, Abbé Vallet, Yvonne Lerolle and other members of his network. The Portrait of the painter Degas dialogues with an admired figure of modernity, while religious or worldly portraits adapt the same concern for balance. Over time, the Portrait of the painter Degas dialogues with an admired figure of modernity, while religious or worldly portraits adapt the same concern for balance. Over time, the Portrait of the painter Degas dialogues with an admired figure of modernity, while religious or worldly portraits adapt the same concern for balance. Over time, the Portrait of the painter Degas dialogues with an admired figure of modernity, while religious or worldly portraits adapt the same concern for balance. Over time, the Nabi heritage encounters a more classic construction, nourished by Italy. However, portraiture remains a local art, where the person is recognized in their environment and their relationships. The "Portraits of Maurice Denis" selection notably compares Portrait of Élisabeth Denis and Self-portrait in front of the Priory. His reading favors color.

Denis' portrait does not detach the person from his life: clothing, garden and architecture continue the form of his identity around them.