Jeanne Jacquemin – Symbolist artist and writer


Jeanne Jacquemin, c 1893

Jeanne Jacquemin (Marie-Jeanne Coffineau)  was born in Paris in 1863 to Marie Emélie Boyer and was adopted by Lord Juliette Boyer and Louise Coffineau in 1874. However, details of her upbringing are sketchy and conflicting, and it isn’t known what formal training she may have had in drawing, painting or print making.

In 1881 she married a naturalist illustrator (who was also an alcoholic), Edouard Jacquemin.  After they separated Jeanne lived with engraver Auguste-Marie Lauzet in Sévres on the outskirts of Paris, from about 1893. Through both Jacquemin and Lauzet she met a number of artists (including Puvis de Chavannes) and poets and developed an interest in Symbolism and the occult.

She first became known as a writer, when from June 1890 onwards she wrote commentaries on a number of writers and painters of the time for Art et Critique – she was particularly interested in Symbolist and Decadent literature. Many of the themes and images that she referenced in her writing appeared later in her own pastels.  (Approximately 40 of the works that she exhibited during her lifetime were pastels, and unfortunately few remain.)

Like many other Symbolists, Jacquemin saw a close correlation between literature, music and the visual arts. She responded to the poetic and mystic delights of the texts in her commentaries, saying that “her ear keeps the music of poems long after the reading“. She also wrote that “I see images [from the poems] mount before my eyes” and that she wanted to “try to fix some of her visions“.

From 1892,  with other Symbolists and Post Impressionists, she participated in a series of Peintres Impressionnistes et Symbolistes exhibitions, which were held between 1891 and 1897.

The catalogues of these exhibitions show that Jacquemin was both well represented and well received by some of the most significant critics of the time. Rémy de Gourmont from the Mercure de France wrote that her “overall effect produces something that is full of the new” with traces of “dreaminess” in blue-green luminosities” and impressions of “androgynous figures left to float like the unhealthy, yet adorable haze of desire around those heads so infinitely tired of living“.

Gourmet compares the dreaminess in her work to fellow Symbolists Gustave Moreau and Odilon Redon, and her work is similar in style to  Puvis de Chavannes. There is also an echo of Paul Gauguin in some of her works.

Most of her paintings can be easily identified by the sad figures – usually waif-like or gaunt women in anguished or dreamlike states – which appear to haunt her paintings. She mostly used subdued tones in her pastels which adds to their subtlety .

Daydream (or Reverie), above left,  appears to be typical of her work, with a solitary, somewhat melancholic or pensive, figure set in front of a landscape. Blues and purples feature in the background, as do the  strawberry blonde hair and blue-green eyes, which are thought to be similar to the artist’s own features. Does the use of the garland of flowers suggest a Christ like quality? It was not unusual for her male Symbolist counterparts to explore the theme of the self as Christ, and Jacquemin may have also chosen to do so. The second image above ( La Douloureuse et Glorieuse Couronne) is certainly suggestive of this motif, with the crown of thorns and eyes raised to the heavens.


One critic, writer and poet Jean Lorrain, was particularly taken by Jacquemin’s art, that he felt might be used to mirror his own interests, which also included the occult. As a result, they collaborated on a short story, Conte de Noel. Written by Lorrain and accompanied by five lithographs by Jacquemin, it was published in 1894. Lorrain’s support for her during the 1890s may assisted in her public recognition. For example, in 1893, she was invited to represent France in the tenth Les XX exhibition in Brussels, where she showed five works. Unfortunately, the close relationship between the two deteriorated and her reputation suffered as a result.

As well as her paintings, Jacquemin also produced a number of charcoal drawings and prints (lithographs) which were not as widely exhibited.

Jeanne Jacquemin, Saint Georges, 1898
Jeanne Jacquemin, Saint Georges, 1898

Perhaps the best known is a colour lithograph, Saint Georges, c 1898, which appeared in L’Estampe Modern that year. The description of print in the magazine read,

This print represents the young and valiant knight of Cappadocia, sweet as a virgin but strong as a lion, who is described in the Golden Legend as fighting and killing the dragon who was preparing to devour the daughter of the King of Libya. Thus, this heroic character inspired the traditions of many peoples, and since the time of the Crusades he has been known as the patron saint of the armies”.


It has been said that many of her works are self portraits, and there is certainly a similarity in the facial structure in a several of the paintings and prints shown on this page. Even the Saint Georges lithograph appears, if not female, at least androgynous.

Not a great deal is known about Jeanne Jacquemin or her work from the late 1890’s onwards. After nursing Lauzet until his death in 1898, she married Lucien Pautrier, and perhaps she chose to no longer exhibit, or it may have been the acrimony between herself and Lorrain (including a very public law suit) and the death of Lauzet which resulted in her being hospitalised for a short time that led to her being less interested in art. She divorced Pautrier in 1921, and married occultist Paul Sédir later in the same year, suggesting that she maintained her interest in the occult throughout her life time.

Jacquemin is thought to have died in 1938.

Primary Source: Jeanne Jacquemin: A French Symbolist, Leslie Stewart Curtis, Woman’s Art Journal, Vol. 21, No. 2 (Autumn, 2000 – Winter, 2001), pp. 1+27-35

 This blog is just a short excerpt from my art history e-course, Introduction to Modern European Art  which is designed for adult learners and students of art history.

This interactive program covers the period from Romanticism right through to Abstract Art, with sections on the Bauhaus and School of Paris,  key Paris exhibitions, both favourite and less well known artists and their work, and information about colour theory and key art terms. Lots of interesting stories, videos and opportunities to undertake exercises throughout the program.

If you’d like to see some of the  Australian artwork you’ll find in my gallery, scroll down to the bottom of the page. You’ll also find many French works on paper and beautiful fashion plates from the early 1900s by visiting the gallery.

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