RAS MOULAY ALI PAINTED BY JACQUES MAJORELLE

JACQUES MAJORELLE (1886-1962)
Ras Moulay Ali, (603 m-1 978 fr)
Morocco

In "Tassa, Haut Sexaoua, Grand Atlas, le Ras Moulay Ali", Technique mixte rehaussée d'or et d'argent,1929

About the painting
In 1926 Majorelle undertook a journey across the Kasbahs of the Atlas. Tassa, easily recognized by its impressive terrace-like layout, was a frequent source of inspiration for Majorelle in the course of 1929. His use of an elaborate technique of tempera with gold and silver highlights adds a strong graphic dimension to the painting. Applying black and ochre highlights, Majorelle subtly hints to the warm lighting of sunset, which accentuates the volume effect, highlighting the terraces and the Great-Atlas in the background. Also, the greenery diffuses an impression of coolness which is in stark contrast with the consuming heat of the dry mineral landscape.“His new compositions exude a distinctive penchant for neatness and simplicity, immense precision and an effort in researching a voluntarily decorative layout.  His fifty compositions were drawn with implacable rigor. The coloring appears in mellow hues and muted shades, which once highlighted with gold and silver, invigorate the entire composition with rich, stirring intemporality” In November 1930, in parallel with an exhibition of seventy drawings and paintings of Kasbahs held at the Renaissance gallery, a book containing thirty views of Kasbahs was also published.
(cf, Félix Marcilhac, La vie et l'œuvre de Jacques Majorelle (1886 - 1962), ed.ACR, 1995, p.137-138)

The painter
Jacques Majorelle son of the celebrated Art Nouveau furniture designer Louis Majorelle, was a French painter. He studied at the École des Beaux-Arts in Nancy in 1901 and later at the Académie Julian in Paris with Schommer and Royer. Majorelle became a noted Orientalist painter, but is most remembered for constructing the villa and gardens that now carry his name, Les Jardins Majorelle in Marrakech.
In around 1917 he travelled to Morocco to recover from heart problems and after short period spent in Casablanca, he visited Marrakech, where he fell in love with the vibrant colours and quality of light he found there. Initially, he used Marrakech as a base for trips to Spain, Italy and other parts of North Africa, including Egypt. Eventually, however, he settled in Marrakech permanently.
He drew inspiration for his paintings from his trips and from Marrakesch itself. His paintings include many street scenes, souks and kasbahs as well as portraits of local inhabitants. He opened a handicrafts workshop in Marrakech and also designed posters to promote travel to Morocco. His work was profoundly affected by his voyages around the Mediterannean and North Africa. He introduced a more coloured vision, bathed in light where the drawing disappears and the image emerges from large spots of colour laid flat. It seemed as if he had discoved the sun in these countries. His style exhibited more freedom and spontaneity.
In 1919, he married Andrée Longueville and the pair lived in an apartment near the Jemâa el-Fna Square (then at the palace of Pasha Ben Daoud). In 1923, Jacques Majorelle bought a four acre plot, situated on the border of a palm grove in Marrakech and in 1931, he commissioned the architect, Paul Sinoir, to design a Cubist villa for him. He gradually purchased additional land, extending his holding by almost 10 acres. In the grounds around the residence, Majorelle began planting a luxuriant garden which would become known as the Jardins Majorelle or Majorelle Garden. He continued to work on the garden for almost forty years. The garden is often said to be the his finest work. Majorelle developed a special shade of the colour blue, which was inspired by the blue tiles prevalent in southern Morocco. This colour was used extensively in Majorelle's house and garden, and now carries his name; Majorelle Blue.
The garden proved costly to run and in 1947, Majorelle opened the garden to the public with an admission fee designed to defray the cost of maintenance. He sold the house and land in the 1950s, after which it fell into disrepair.
Majorelle was sent to France for medical treatment in 1962 following a car accident, and died in Paris, later that year of complications from his injuries. He is buried in Nancy, the place of his birth.
During his lifetime, many of Majorelle's paintings were sold to private buyers and remain in private collections. Some of his early works can be found in Museums around his birthplace such as the Musée de l'Ecole de Nancy. Examples of his later work can be seen in the Mamounia Hotel, Marrakesch, the French Consulate of Marrakech and in the Villa at the Majorelle Gardens.

__________________________________________
2022 - Wandering Vertexes...
by Francis Rousseau

 

HIGH ATLAS PAINTED BY JACQUES MAJORELLE

 

JACQUES MAJORELLE (1886-1962)
High Atlas (4,167 m - 2.589 mi - 13,678 ft)
Morocco  

 

In La kasbah d'Ammeniter et la Vallée d'Ounila, Oil on canvas, 1925,  Private collection

The mountain
High Atlas, also called the Grand Atlas is a mountain range in central Morocco, North Africa, the highest part of the Atlas Mountains. The High Atlas rises in the west at the Atlantic Ocean and stretches in an eastern direction to the Moroccan-Algerian border. At the Atlantic and to the southwest the range drops abruptly and makes an impressive transition to the coast and the Anti-Atlas range. To the north, in the direction of Marrakech, the range descends less abruptly. The range includes Jbel Toubkal, which at 4,167 m (2.589 mi; 13,671 ft) is the highest in the range and lies in Toubkal National Park. The range serves as a weather system barrier in Morocco running east–west and separating the Sahara from the Mediterranean and continental zones to the north and west. In the higher elevations of the massif, snow falls regularly, allowing winter sports. Snow lasts well into last spring in the High Atlas, mostly on the northern faces of the range. On the Western High Atlas, there is Oukaïmeden, one of three main ski stations in Morocco.
The High Atlas forms the basins for a multiplicity of river systems. The majority of the year-round rivers flow to the north, providing the basis for the settlements there. A number of wadis and seasonal rivers terminate in the deserts to the south and plateaux to the east of the mountains. The High-Atlas Mountains are inhabited by Berbers, who live from agriculture and pastoralism in the valleys. In the steppe zone of the High-Atlas, where precipitations are low, the locals created a smart technique in managing the low precipitations and the weak soil. They turn the rather semi-arid lands into fertile valleys called locally by Agdal (garden in Berber). This technique has intrigued many Western agriculturalists, in which they were impressed by the high efficiency of this agricultural system. Many scientists, particularly French scientists, make yearly expeditions to observe the community and their living system.

 

The painter  

Jacques Majorelle son of the celebrated Art Nouveau furniture designer Louis Majorelle, was a French painter. He studied at the École des Beaux-Arts in Nancy in 1901 and later at the Académie Julian in Paris with Schommer and Royer. Majorelle became a noted Orientalist painter, but is most remembered for constructing the villa and gardens that now carry his name, Les Jardins Majorelle in Marrakech.
In around 1917 he travelled to Morocco to recover from heart problems and after short period spent in Casablanca, he visited Marrakech, where he fell in love with the vibrant colours and quality of light he found there. Initially, he used Marrakech as a base for trips to Spain, Italy and other parts of North Africa, including Egypt. Eventually, however, he settled in Marrakech permanently.
He drew inspiration for his paintings from his trips and from Marrakesch itself. His paintings include many street scenes, souks and kasbahs as well as portraits of local inhabitants. He opened a handicrafts workshop in Marrakech and also designed posters to promote travel to Morocco.  His work was profoundly affected by his voyages around the Mediterannean and North Africa. He introduced a more coloured vision, bathed in light where the drawing disappears and the image emerges from large spots of colour laid flat. It seemed as if he had discoved the sun in these countries. His style exhibited more freedom and spontaneity.
In 1919, he married Andrée Longueville and the pair lived in an apartment near the Jemâa el-Fna Square (then at the palace of Pasha Ben Daoud). In 1923, Jacques Majorelle bought a four acre plot, situated on the border of a palm grove in Marrakech and in 1931, he commissioned the architect, Paul Sinoir, to design a Cubist villa for him. He gradually purchased additional land, extending his holding by almost 10 acres. In the grounds around the residence, Majorelle began planting a luxuriant garden which would become known as the Jardins Majorelle or Majorelle Garden. He continued to work on the garden for almost forty years. The garden is often said to be the his finest work.  Majorelle developed a special shade of the colour blue, which was inspired by the blue tiles prevalent in southern Morocco. This colour was used extensively in Majorelle's house and garden, and now carries his name; Majorelle Blue.
The garden proved costly to run and in 1947, Majorelle opened the garden to the public with an admission fee designed to defray the cost of maintenance.  He sold the house and land in the 1950s, after which it fell into disrepair.
Majorelle was sent to France for medical treatment in 1962 following a car accident, and died in Paris, later that year of complications from his injuries. He is buried in Nancy, the place of his birth.
During his lifetime, many of Majorelle's paintings were sold to private buyers and remain in private collections. Some of his early works can be found in Museums around his birthplace such as the Musée de l'Ecole de Nancy. Examples of his later work can be seen in the Mamounia Hotel, Marrakesch, the French Consulate of Marrakech and in the Villa at the Majorelle Gardens. 

 

__________________________________________

2020 - Wandering Vertexes...
by Francis Rousseau

 

TIZI N'TICHKKA (2) BY JACQUES MAJORELLE

JACQUES MAJORELLE (1886- 1962)

                                                         Tizi n'Tichka  (2,260m - 7,415ft) 

Morocco

In Kasbah et Atlas, gouache sur papier, Private collection 

The mountain pass

Tizi n'Tichka (2,260m - 7,415ft)  is a mountain pass in Morocco, linking the south-east of Marrakesh-Safi to the city of Ouarzazate through the High Atlas mountains and visible from Ounila valley.  It lies above the great Marrakech Plains and is a gateway to the Sahara Desert. From November through March, snow can often fall on the pass, but it can be warm all year round in the strong sun.  It  is the highest major mountain pass in North Africa. The road was constructed along the old caravan trail by the French military in 1936, and is now part of National Route 9 (formerly Route P-31). 

The last, known Barbary lion in the wilderness of North Africa was shot near Tizi n'Tichka pass in 1942. Genetically speaking, however, the Barbary lion appears to live on in the Senegal lion of Western and Central Africa.

The painter 

Jacques Majorelle son of the celebrated Art Nouveau furniture designer Louis Majorelle, was a French painter. He studied at the École des Beaux-Arts in Nancy in 1901 and later at the Académie Julian in Paris with Schommer and Royer. Majorelle became a noted Orientalist painter, but is most remembered for constructing the villa and gardens that now carry his name, Les Jardins Majorelle in Marrakech.
In around 1917 he travelled to Morocco to recover from heart problems and after short period spent in Casablanca, he visited Marrakech, where he fell in love with the vibrant colours and quality of light he found there. Initially, he used Marrakech as a base for trips to Spain, Italy and other parts of North Africa, including Egypt. Eventually, however, he settled in Marrakech permanently.
He drew inspiration for his paintings from his trips and from Marrakesch itself. His paintings include many street scenes, souks and kasbahs as well as portraits of local inhabitants. He opened a handicrafts workshop in Marrakech and also designed posters to promote travel to Morocco.  His work was profoundly affected by his voyages around the Mediterannean and North Africa. He introduced a more coloured vision, bathed in light where the drawing disappears and the image emerges from large spots of colour laid flat. It seemed as if he had discoved the sun in these countries. His style exhibited more freedom and spontaneity.
In 1919, he married Andrée Longueville and the pair lived in an apartment near the Jemâa el-Fna Square (then at the palace of Pasha Ben Daoud). In 1923, Jacques Majorelle bought a four acre plot, situated on the border of a palm grove in Marrakech and in 1931, he commissioned the architect, Paul Sinoir, to design a Cubist villa for him. He gradually purchased additional land, extending his holding by almost 10 acres. In the grounds around the residence, Majorelle began planting a luxuriant garden which would become known as the Jardins Majorelle or Majorelle Garden. He continued to work on the garden for almost forty years. The garden is often said to be the his finest work.  Majorelle developed a special shade of the colour blue, which was inspired by the blue tiles prevalent in southern Morocco. This colour was used extensively in Majorelle's house and garden, and now carries his name; Majorelle Blue.
The garden proved costly to run and in 1947, Majorelle opened the garden to the public with an admission fee designed to defray the cost of maintenance.  He sold the house and land in the 1950s, after which it fell into disrepair.
Majorelle was sent to France for medical treatment in 1962 following a car accident, and died in Paris, later that year of complications from his injuries. He is buried in Nancy, the place of his birth.
During his lifetime, many of Majorelle's paintings were sold to private buyers and remain in private collections. Some of his early works can be found in Museums around his birthplace such as the Musée de l'Ecole de Nancy. Examples of his later work can be seen in the Mamounia Hotel, Marrakesch, the French Consulate of Marrakech and in the Villa at the Majorelle Gardens. 

TIZI N'TICHKA BY JACQUES MAJORELLE

JACQUES MAJORELLE  (1886-1962) 

Tizi n'Tichka  (2,260m- 7,415ft) 

Morocco

In Irounen, Grand atlas, Vallée d'Ounila, gouache sur papier, Private collection 

The mountain pass

Tizi n'Tichka (2,260m - 7,415ft)  is a mountain pass in Morocco, linking the south-east of Marrakesh-Safi to the city of Ouarzazate through the High Atlas mountains and visible from Ounila valley.  It lies above the great Marrakech Plains and is a gateway to the Sahara Desert. From November through March, snow can often fall on the pass, but it can be warm all year round in the strong sun.  It  is the highest major mountain pass in North Africa. The road was constructed along the old caravan trail by the French military in 1936, and is now part of National Route 9 (formerly Route P-31). 

The last, known Barbary lion in the wilderness of North Africa was shot near Tizi n'Tichka pass in 1942. Genetically speaking, however, the Barbary lion appears to live on in the Senegal lion of Western and Central Africa.

The painter 

Jacques Majorelle son of the celebrated Art Nouveau furniture designer Louis Majorelle, was a French painter. He studied at the École des Beaux-Arts in Nancy in 1901 and later at the Académie Julian in Paris with Schommer and Royer. Majorelle became a noted Orientalist painter, but is most remembered for constructing the villa and gardens that now carry his name, Les Jardins Majorelle in Marrakech.
In around 1917 he travelled to Morocco to recover from heart problems and after short period spent in Casablanca, he visited Marrakech, where he fell in love with the vibrant colours and quality of light he found there. Initially, he used Marrakech as a base for trips to Spain, Italy and other parts of North Africa, including Egypt. Eventually, however, he settled in Marrakech permanently.
He drew inspiration for his paintings from his trips and from Marrakesch itself. His paintings include many street scenes, souks and kasbahs as well as portraits of local inhabitants. He opened a handicrafts workshop in Marrakech and also designed posters to promote travel to Morocco.  His work was profoundly affected by his voyages around the Mediterannean and North Africa. He introduced a more coloured vision, bathed in light where the drawing disappears and the image emerges from large spots of colour laid flat. It seemed as if he had discoved the sun in these countries. His style exhibited more freedom and spontaneity.
In 1919, he married Andrée Longueville and the pair lived in an apartment near the Jemâa el-Fna Square (then at the palace of Pasha Ben Daoud). In 1923, Jacques Majorelle bought a four acre plot, situated on the border of a palm grove in Marrakech and in 1931, he commissioned the architect, Paul Sinoir, to design a Cubist villa for him. He gradually purchased additional land, extending his holding by almost 10 acres. In the grounds around the residence, Majorelle began planting a luxuriant garden which would become known as the Jardins Majorelle or Majorelle Garden. He continued to work on the garden for almost forty years. The garden is often said to be the his finest work.  Majorelle developed a special shade of the colour blue, which was inspired by the blue tiles prevalent in southern Morocco. This colour was used extensively in Majorelle's house and garden, and now carries his name; Majorelle Blue.
The garden proved costly to run and in 1947, Majorelle opened the garden to the public with an admission fee designed to defray the cost of maintenance.  He sold the house and land in the 1950s, after which it fell into disrepair.
Majorelle was sent to France for medical treatment in 1962 following a car accident, and died in Paris, later that year of complications from his injuries. He is buried in Nancy, the place of his birth.
During his lifetime, many of Majorelle's paintings were sold to private buyers and remain in private collections. Some of his early works can be found in Museums around his birthplace such as the Musée de l'Ecole de Nancy. Examples of his later work can be seen in the Mamounia Hotel, Marrakesch, the French Consulate of Marrakech and in the Villa at the Majorelle Gardens. 

KSAR D'AÏT BEN HADDOU PEINT PAR JACQUES MAJORELLE

 

 

JACQUES MAJORELLE (1886-1962)

Ksar d'Aït ben Haddou (250m)

Maroc

Le peintre
Jacques Majorelle, est un peintre orientaliste français. Fils de l’ébéniste Louis Majorelle, Jacques baigne, dès son enfance, dans le courant art nouveau de l'École de Nancy. Il accompagne fréquemment son père dans ses ateliers. Il s'inscrit en 1901 à l'École des beaux-arts de Nancy en section Architecture et Décoration. Dès 1903, Jacques Majorelle s’éloigne peu à peu de Nancy et de son père. Il préfère devenir peintre et part à Paris. Il s'inscrit à l’Académie Julian où il suit des cours à l'atelier de Schommer et Royer. Il voyage en Espagne et en Italie. Il expose en 1908 à Paris à la Société des Artistes Français. Souffrant d'une maladie pulmonaire, il recherche les climats chauds et secs ; en 1910, il découvre l’Égypte.Réformé à cause de sa maladie, il ne participe pas à la Première Guerre mondiale. En 1917, il arrive au Maroc et s’installe à Marrakech. Il donne l'année suivante une première exposition dans le hall de l’hôtel Excelsior, à Casablanca.
 Puis, il fait sa première expédition dans le sud du pays. Il publie à son retour Carnet de route d’un peintre dans l’Atlas et l’Anti-Atlas, journal relatant son périple.
Il peint le plafond de l'hôtel La Mamounia de Marrakech. En 1922, il acquiert une palmeraie au nord-ouest de la médina de Marrakech et fait appel, en 1929, au cabinet d'architectes Robert Poisson et Paul Sinoir pour la construction d'une "villa atelier" qui rappelle le style de Le Corbusier, alternant entre le traditionnel inspiré du Maroc avec une architecture mauresque (les fenêtres et le sol), et le moderne érigé dans un style Art déco en vogue à cette époque.
Il implante dans le jardin de nombreuses espèces : orangers, cocotiers, bananiers, yuccas, jasmins, bananiers, bougainvilliers, fuchsias, cactus et agaves. Il y aménage des bassins, jets d’eau, pergolas et allées. En 1926, son père meurt à Nancy et Jacques poursuit son exploration de l’Atlas.
En 1937, il peint sa villa de couleurs vives, dominées par un bleu outremer auquel il donne son nom. En 1947, il ouvre son jardin au public. En 1955, il est amputé d’un pied à la suite d'un accident de voiture.
Dès ses premières expositions à Nancy, dans les années 1908-1914, il est comparé au peintre Félix Ziem. Il cherche à réinventer l'orientalisme, s'éloignant de la recherche d'exotisme au profit de l'authenticité, notamment dans son travail sur l'Atlas. Il s'intéresse particulièrement à l'aspect médiéval des sites qu'il visite, comme le montre son recueil de 1930, Les Kasbah de l'Atlas marocain.
Au début des années 1930, il produit des nus de personnes Noires : son trait est aussi précis que celui d’Émile Friant, mais ce qui fait leurs succès, c'est le traitement des couleurs cuivrées de la peau, grâce à l'utilisation de poudres métalliques rehaussant la peinture8. Ces peintures le rendent célèbres à Paris, où elles s'intègrent dans une mode plus vaste qui célèbre Joséphine Baker ou le jazz.
Le travail pictural et urbaniste de Jacques Majorelle s'inscrit dans le projet du maréchal Lyautey qui cherche à « construire un monde nouveau » dans les colonies françaises.

La colline
Le ksar d'Aït-ben-Haddou est un ksar au Maroc, situé dans la province de Ouarzazate. Il est inscrit sur la liste du patrimoine mondial de l'UNESCO depuis 1978.
Pendant le protectorat français, le ksar était surnommé « le Mont-saint-Michel des Chleuhs », population d'origine de ces lieux Aït-ben-Haddou est situé à 30 Km de Ouarzazate, dans la vallée de l’Ounila, au sud de Télouet, fief du Glaoui, vallée qui était un point de passage traditionnel des caravanes reliant Marrakech au sud du Sahara.
C’est un exemple frappant de l'architecture du sud marocain traditionnel, sur le flanc d’une colline au sommet de laquelle se trouve un grenier collectif (un agadir).
Le village se présente comme un ensemble de bâtiments de terre entourés de murailles, le ksar, qui est un type d'habitat traditionnel présaharien. Les maisons se regroupent à l'intérieur de ses murs défensifs renforcés par des tours d'angle. Certaines de ses habitations semblent être de petits châteaux avec leurs hautes tours décorées de motifs en brique crue. Les plus anciennes constructions dateraient du xviie siècle. Le site aurait d'ailleurs été l'un des nombreux comptoirs de la route commerciale qui reliait l'Afrique saharienne à Marrakech - on peut encore y voir un fondouk (caravansérail).
Tout autour de ce douar un ensemble de villages se regroupe. Au pied de la colline coule l'oued Maleh, dont le nom signifie « rivière salée ». L'eau est impropre à la consommation car très chargée en sel.
Les habitants de ces douars sont pour la plupart des berbères anciennement nomades qui ont ensuite choisi la sédentarité pour des raisons diverses.
Les bâtisses du ksar sont entièrement construites en pisé, avec des planchers en boi. Le pisé se présente comme un matériau très pratique et rentable, mais nécessitant un entretien permanent. Il se compose de terre compressée et d'argile, généralement mélangées à d'autres matériaux favorisant l'adhérence. Amghar Ben Haddou, ancien chef du village et dont l'éponyme fut donné au lieu par la suite, habitait l'emplacement du ksar dès l'époque des Almoravides (11ème siècle) pour le gouverner.

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2023 - Gravir les montagnes en peinture
Un blog de Francis Rousseau

TAZOUDA ET LE HAUT ATLAS PEINT PAR JACQUES MAJORELLE

 

JACQUES MAJORELLE (1886-1962)
Tazouda / Tondoute (1,539m - 5,049 ft)
Maroc

In La Kasba de Tazouda, 1949, gouache sur papier, 60 x 90cm, Musée de Tazouda

La montagne
Le Haut Atlas oriental est formé des vastes plateaux d'altitude de la haute Moulouya. Ces plateaux s'étendent de Midelt — province de Khénifra, abritant le djebel Ayachi - à Imilchil - province d'Errachidia, où se trouvent le Djebel Saghro et le massif ancien de Tamlelt dont la bordure nord est occupée par ses plus hauts sommets, tel le djebel Ayachi
L'altitude s'affaiblit vers l'est, où débute le domaine des hamadas (zone pré-saharienne). Ce massif est devenu un site paléontologique de renommée internationale, à la suite de la découverte des ossements d'un dinosaure alors inconnu, l'Atlasaurus, dinosaure quadrupède herbivore d'environ 18 à 20 mètres de long qui peuplait le Maroc il y a 165 millions d'années (Jurassique moyen). Un autre dinosaure d'environ neuf mètres de long a été baptisé Tazoudasaurus naimi, du nom du village de Tazouda où il a été découvert (à 70 kilomètres de la ville de Ouarzazate). Il est plus ancien que le précédent (environ 180 millions d'années) et pourrait bien être l'« ancêtre » des sauropodes d'Amérique du Nord qui, eux, ont 140 millions d'années — une époque où l’Afrique du Nord et le continent américain étaient soudés.

Le peintre
Jacques Majorelle, fils du célèbre créateur de meubles Art nouveau Louis Majorelle, était un peintre français. Il étudie à l'École des Beaux-Arts de Nancy en 1901 puis à l'Académie Julian à Paris avec Schommer et Royer. Majorelle est devenu un peintre orientaliste réputé, mais il est surtout connu pour avoir construit la villa et les jardins qui portent désormais son nom, Les Jardins Majorelle à Marrakech.
Vers 1917, il se rendit au Maroc pour se remettre de problèmes cardiaques et après une courte période passée à Casablanca, il se rendit à Marrakech, où il tomba amoureux des couleurs vibrantes et de la qualité de la lumière qu'il y trouva. Il commença par utiliser Marrakech comme base de départ pour des voyages en Espagne, en Italie et dans d'autres parties de l'Afrique du Nord, y compris l'Égypte, avant de finalement, s'y s'installer définitivement.
Il s'est inspiré pour ses peintures de ses voyages et de Marrakech même. Ses peintures rendent compte de nombreuses scènes de rue, souks et kasbahs ainsi que de portraits d'habitants locaux. Il ouvrit un atelier d'artisanat à Marrakech et  également conçut des affiches pour promouvoir les voyages au Maroc. Il introduisit une vision plus colorée, baignée de lumière où le dessin disparaît et l'image émerge de larges taches de couleur posées à plat. C'était comme s'il avait découvert le soleil dans ces contrées. Son style fait preuve de plus de liberté et de spontanéité.
Du vivant même de Majorelle,  nombre de ses peintures  ont été vendues à des collectionneurs  privés et restent encore aujourd'hui jalousement dans ces collections. Certaines de ses premières œuvres se trouvent dans les musées autour de sa ville natale comme le Musée de l'Ecole de Nancy. Des exemples de ses travaux ultérieurs peuvent être vus à l'Hôtel Mamounia de Marrakech, au consulat de France de Marrakech, à la Villa des jardins Majorelle ou au Musée de Tazouda. 

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2022 - Wandering Vertexes ....
            Errant au-dessus des Sommets Silencieux...
            Un blog de Francis Rousseau

MASSIF DU DEBDOU PEINT PAR JACQUES MAJORELLE

 

JACQUES MAJORELLE (1886-1962)
Le massif du Deddou  (957m) 

Maroc

 

In  La Kasbah de Taourirt, 1945, Collection privée

 

 Le relief

Taourirt se situe dans le nord-est du Maroc près de l'oued Za qui la borde et non loin de la Moulouya. La ville est bâtie entre les montagnes des Béni-Snassen et Taza à l'ouest, Nador au nord, El Aïoun Sidi Mellouk à l'est, la chaîne montagneuse de Debdou (857m) au sud. D’un point de vue physique et structurel, Debdou se situe à 33° 59' 9N de latitude et 3° 3' 4W de longitude à 957 mètres d’altitude dans un enclavement « au pied du flanc droit de la vallée de l’oued Debdou (affluent de la Moulouya) qui s’élève en muraille perpendiculaire à 80 mètres au-dessus du fond » entouré de massifs, barrant la route aux plaines fertiles du nord du Maroc avec notamment celle de Tafrata et de Sedjaa incontournables du fait qu’une route secondaire (no 410), la relie avec les principales villes du nord de la région et notamment Taourirt à 53 km plus au nord. Cette dernière s’étend plus à l’est vers les monts Jerada et à l’ouest vers Guercif et Taza. Les massifs constituant l'entourage de Debdou sont : les monts Zekkara, Beni Yala, Beni Bou, Zeggou, Gaâda ou plateau de Debdou (1 615 mètres) qui a des saillies prononcées tombant en falaises et dont le talus est marqué par la présence de nombreux pins et chênes verts, genévriers dont l’origine anthropique se remarque par l'organisation en bandes parallèles du massif forestier, de même un cordon de lauriers roses et un oued en précisent le talweg.

 

Le peintre 

Jacques Majorelle  est le fils de l’ébéniste Louis Majorelle. Il baigne, dès son enfance, dans le courant art nouveau de l'École de Nancy. Il accompagne fréquemment son père dans ses ateliers. Il s'inscrit en 1901 à l'École des beaux-arts de Nancy en section Architecture et Décoration. Dès 1903, Jacques Majorelle s’éloigne peu à peu de Nancy et de son père. Il préfère devenir peintre et part à Paris. Il s'inscrit à l’Académie Julian où il suit des cours à l'atelier de Schommer et Royer. Il voyage en Espagne et en Italie. Il expose en 1908 à Paris à la Société des Artistes Français. Souffrant d'une maladie pulmonaire, il recherche les climats chauds et secs ; en 1910, il découvre l’Égypte. Réformé à cause de sa maladie, il ne participe pas à la Première Guerre mondiale. En 1917, il arrive au Maroc et s’installe à Marrakech. Il donne l'année suivante une première exposition dans le hall de l’hôtel Excelsior, à Casablanca.
Villa Saf Saf.
En 1919, il épouse Andrée Longueville, née à Lunéville et arrivée avec lui au Maroc. Puis, il fait sa première expédition dans le sud du pays. Il publie à son retour Carnet de route d’un peintre dans l’Atlas et l’Anti-Atlas, journal relatant son périple. Il réside alors dans un riad de la Medina, près de Bab Doukhla.  Il peint le plafond de l'hôtel La Mamounia de Marrakech. En 1923 il achète un terrain en bordure de la palmeraie de Marrakech, au nord-ouest de la médina, dans le quartier de Rouidat. En 1924 il y fait construire sur des propres plans une villa, libre transposition d'une demeure traditionnelle marocaine, qu'il nomme villa Bou Saf Saf. Sur un terrain adjacent acquis en 1929, il fait construire en 1932 par le cabinet d'architectes Robert Poisson et Paul Sinoir une "villa atelier" qui rappelle le style de Le Corbusier, alternant entre le traditionnel inspiré du Maroc avec une architecture mauresque (les fenêtres et le sol), et le moderne érigé dans un style Art déco en vogue à cette époque. Au début des années 50, il y installe sa résidence avec sa nouvelle compagne; en 1954 une séparation attribue la villa Bou Saf Saf à sa première épouse, l'artiste ne conservant plus que la demeure art déco et la moitié du jardin. Il implante dans le jardin de nombreuses espèces : orangers, cocotiers, bananiers, yuccas, jasmins, bananiers, bougainvilliers, fuchsias, cactus et agaves. Il y aménage des bassins, jets d’eau, pergolas et allées. Dès 1921, il effectue un premier voyage de quatre mois dans le Haut-Atlas. En 1926, son père meurt à Nancy et Jacques poursuit son exploration de l’Atlas. Il y ferra plusieurs autres séjours ainsi que dans le sud marocain: Kasbah de Taourirt à Ouarzazate, vallée de l'Ounila, Anemiter. En 1931, il expose au pavillon marocain et à celui des Beaux-Arts de l'Exposition Coloniale Internationale. En 1937, il réalise deux toiles de très grande taille pour décorer l'Hotel de ville de Casablanca. De 1945 à 1954, il fait plusieurs voyages au Mali, en Guinée, au Sénégal et en Cote d'Ivoire.
En 1937, il peint sa villa de couleurs vives, dominées par un bleu outremer auquel il donne son nom. En 1947, il ouvre son jardin au public. En 1955, il est amputé d’un pied à la suite d'un accident de voiture. Il divorce en 1956 puis se remarie en 1961. Le 14 octobre 1962, il meurt à Paris, ville où il a été rapatrié à la suite d'une fracture du fémur. Il est inhumé à Nancy au cimetière de Préville, au côté de son père.

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2024- Gravir les montagnes en peinture

Un blog de Francis Rousseau 

TAZOUDA / TONDOUTE BY JACQUES MAJORELLE

  

JACQUES MAJORELLE (1886-1962)

Tazouda / Tondoute (1,539m - 5,049 ft)  

 Morocco

In Les terrasses de Tazouda,  1949, gouache on paper,  60 x 90cm, Private collection

 The site
The site of Tazouda / Tondoute (1,539m - 5,049 ft) is  nowasays  remarkable because it is the place where was discovered in 2002, a completely unknown dinosaur, the Atlasaurus. These are, the scientists said, "the oldest known cranial remains of a sauropod" and are believed to be around 180 million years old, or the Middle Jurassic.
Named “Tazoudasaurus naïmi”, from the name of the village of Tazouda where it was discovered, this dinosaur of about 9 meters long could well be “the ancestor” of the North American sauropods “only 140 million years old years. " Evidence for a major brachiosaurus fossil dates back to 1998, with the gendarmerie discovering trafficking in bones originally discovered by a peasant on a rocky slope above his village. Scented, Moroccan scientists come to study the field and quickly realize that they have fallen on a vein of dinosaur bones. The Moroccan authorities then decided to call on foreign scientists. Under the name of “Dinoatlas”, a research agreement is signed between Moroccan and foreign researchers for a program which will last at least four years.

The painter
Jacques Majorelle son of the celebrated Art Nouveau furniture designer Louis Majorelle, was a French painter. He studied at the École des Beaux-Arts in Nancy in 1901 and later at the Académie Julian in Paris with Schommer and Royer. Majorelle became a noted Orientalist painter, but is most remembered for constructing the villa and gardens that now carry his name, Les Jardins Majorelle in Marrakech.
In around 1917 he travelled to Morocco to recover from heart problems and after short period spent in Casablanca, he visited Marrakech, where he fell in love with the vibrant colours and quality of light he found there. Initially, he used Marrakech as a base for trips to Spain, Italy and other parts of North Africa, including Egypt. Eventually, however, he settled in Marrakech permanently.
He drew inspiration for his paintings from his trips and from Marrakesch itself. His paintings include many street scenes, souks and kasbahs as well as portraits of local inhabitants. He opened a handicrafts workshop in Marrakech and also designed posters to promote travel to Morocco. His work was profoundly affected by his voyages around the Mediterannean and North Africa. He introduced a more coloured vision, bathed in light where the drawing disappears and the image emerges from large spots of colour laid flat. It seemed as if he had discoved the sun in these countries. His style exhibited more freedom and spontaneity.
During his lifetime, many of Majorelle's paintings were sold to private buyers and remain in private collections. Some of his early works can be found in Museums around his birthplace such as the Musée de l'Ecole de Nancy. Examples of his later work can be seen in the Mamounia Hotel, Marrakesch, the French Consulate of Marrakech and in the Villa at the Majorelle Gardens.

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2020 - Wandering Vertexes...
by Francis Rousseau

JEBEL SAGHRO BY JACQUES MAJORELLE

JACQUES MAJORELLE (1886-1962), 

Jebel Saghro or Adrar Saghro (2,712 m - 8,898 ft) 

Morocco 

 In Tinghir todra, oil on canvas, 1930, Private owner

The mountain 
The Jebel Saghro  or Adrar Saghro (2,712 m - 8,898 ft) is located less than 100 km south of the central High Atlas, Morocco, overlooking the valleys of Drâa and Dadès, eastern part of the Anti-Atlas.
Lunar landscapes of plateaus, peaks, canyons, forest of pitons, immensity of spaces. In this chaos of black rocks, the small villages, are reduced to a few small houses surrounded by a bouquet of palm or almond trees. The north-south crossings are made by three passes traversed by difficult and very spectacular tracks: the Tazazert pass (2,283 m), the Kouaouch pass (2,592 m), and the Tagmout pass (1,919 m). The highest point of the mountain is the Amalou n Mansour (2,712 m) which is located southeast of the village of Iknioun.
Charles de Foucauld, gone in search of spirituality, is one of the first Western travelers having explored Jebel Saghro, (Reconnaissance au Maroc  published in 1888 in Paris).

The painter 
Jacques Majorelle son of the celebrated Art Nouveau furniture designer Louis Majorelle, was a French painter. He studied at the École des Beaux-Arts in Nancy in 1901 and later at the Académie Julian in Paris with Schommer and Royer. Majorelle became a noted Orientalist painter, but is most remembered for constructing the villa and gardens that now carry his name, Les Jardins Majorelle in Marrakech.
In around 1917 he travelled to Morocco to recover from heart problems and after short period spent in Casablanca, he visited Marrakech, where he fell in love with the vibrant colours and quality of light he found there. Initially, he used Marrakech as a base for trips to Spain, Italy and other parts of North Africa, including Egypt. Eventually, however, he settled in Marrakech permanently.
He drew inspiration for his paintings from his trips and from Marrakesch itself. His paintings include many street scenes, souks and kasbahs as well as portraits of local inhabitants. He opened a handicrafts workshop in Marrakech and also designed posters to promote travel to Morocco.  His work was profoundly affected by his voyages around the Mediterannean and North Africa. He introduced a more coloured vision, bathed in light where the drawing disappears and the image emerges from large spots of colour laid flat. It seemed as if he had discoved the sun in these countries. His style exhibited more freedom and spontaneity.
During his lifetime, many of Majorelle's paintings were sold to private buyers and remain in private collections. Some of his early works can be found in Museums around his birthplace such as the Musée de l'Ecole de Nancy. Examples of his later work can be seen in the Mamounia Hotel, Marrakesch, the French Consulate of Marrakech and in the Villa at the Majorelle Gardens.

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2018 - Wandering Vertexes...
by Francis Rousseau 

JEBEL AYACHI PAINTED BY JACQUES MAJORELLE

JACQUES MAJORELLE (1886-1962)

Jebel Ayachi (3,757m - 12, 326ft) 

Morocco

In Kasbah de l'Atlas, gouache on paper, Private collection 

The mountain 
Jebel Ayachi (3,757m - 12, 326ft) in arabic جبل العياشي‎,  is one of the highest mountains in North Africa, and anchors the Eastern High Atlas in central Morocco.
Rather than denoting a single peak, Jbel Ayachi refers to a mountainous massif more than 20 kilometers in diameter. Conceptually a ring, the Ayachi region harbors a seasonal lake at its center and is surrounded by peaks and passes that often surpass 3000 m in elevation.
During the 20th century, American climbers erected a large metal cone to mark the peak. Jbel Ayachi's second-highest peak is located in the southeast.
Despite its proximity to the Sahara Desert, the peaks of Ayachi remain snow-covered and cold late into the year. Snow remains on most of the peaks until late May or early June, and in a few sheltered spots may survive the entire summer.
The government of Morocco published accurate topographical maps of the region in 1968, including contours, peaks, and some of the paths and springs. This can be purchased from the Division de Cartographie in major Moroccan cities. The Ayachi region is covered by the maps of the Midelt and Er-Rich districts.

This mountain area provides a habitat to the bearded vulture.
The heart of the nomadic community in Ayachi is the village of Tarhirat, which has no permanent dwellings but is centrally located and well-watered.


The painter 
Jacques Majorelle son of the celebrated Art Nouveau furniture designer Louis Majorelle, was a French painter. He studied at the École des Beaux-Arts in Nancy in 1901 and later at the Académie Julian in Paris with Schommer and Royer. Majorelle became a noted Orientalist painter, but is most remembered for constructing the villa and gardens that now carry his name, Les Jardins Majorelle in Marrakech.
In around 1917 he travelled to Morocco to recover from heart problems and after short period spent in Casablanca, he visited Marrakech, where he fell in love with the vibrant colours and quality of light he found there. Initially, he used Marrakech as a base for trips to Spain, Italy and other parts of North Africa, including Egypt. Eventually, however, he settled in Marrakech permanently.
He drew inspiration for his paintings from his trips and from Marrakesch itself. His paintings include many street scenes, souks and kasbahs as well as portraits of local inhabitants. He opened a handicrafts workshop in Marrakech and also designed posters to promote travel to Morocco.  His work was profoundly affected by his voyages around the Mediterannean and North Africa. He introduced a more coloured vision, bathed in light where the drawing disappears and the image emerges from large spots of colour laid flat. It seemed as if he had discoved the sun in these countries. His style exhibited more freedom and spontaneity.
During his lifetime, many of Majorelle's paintings were sold to private buyers and remain in private collections. Some of his early works can be found in Museums around his birthplace such as the Musée de l'Ecole de Nancy. Examples of his later work can be seen in the Mamounia Hotel, Marrakesch, the French Consulate of Marrakech and in the Villa at the Majorelle Gardens.

_______________________________
2019 - Wandering Vertexes...
by Francis Rousseau