Maurice Utrillo  ( 1883-1955 )

Born in Paris in 1883, Maurice Utrillo is closely associated with Montmartre, whose streets, squares and buildings form the core subject matter of his work. The son of the painter Suzanne Valadon, he grew up immersed in Montmartre’s artistic milieu and began painting around 1902–1903, encouraged by his mother. Self-taught, he quickly developed an independent style, informed by direct observation of the urban landscape and by the study of the architecture around him.

His early works depict Montmartre as well as Montmagny, north of Paris, where he stayed regularly. Utrillo favoured ordinary subjects: deserted streets, crossroads, houses, churches, cafés and boundary walls. Perspective plays a key role in structuring his compositions, whilst the human presence often remains secondary. Far from seeking the picturesque bustle of Belle Époque Paris, he focused his attention on the permanence of places and on the effects produced by architectural surfaces.

This artistic exploration reached its most characteristic expression during the ‘white period’, generally considered to span 1909 to 1914. The colour palette narrowed to focus on chalky whites, greys and ochres, punctuated by darker tones. Utrillo placed particular emphasis on texture at this time: his thick impasto, into which he sometimes incorporated plaster, sand or other substances, conveyed the roughness of the render and the wear and tear of the façades. This pictorial density lent the buildings an almost tangible presence and the streets a silent, instantly recognisable atmosphere.

From the 1910s onwards, his reputation grew. His works were exhibited in Paris and attracted increasing interest from art dealers and collectors. Paul Guillaume played a key role in his recognition by organising a major solo exhibition of his work in 1922. When travelling became more difficult for him, Utrillo frequently turned to postcards as a source of imagery, which he interpreted rather than reproduced literally. His repertoire thus expanded to include numerous towns and villages across France.

From the 1920s onwards, his painting evolved towards a more vibrant colour palette. Reds, greens and yellows became more prominent, whilst the texture of his work became lighter: this development corresponds to the period traditionally referred to as his ‘colourful’ phase. In 1928, Utrillo was appointed a Knight of the Legion of Honour, marking his official recognition by the state.

Having settled in Le Vésinet in 1935 with his wife Lucie Valore, he continued to paint until the end of his life. He died in Dax in 1955.