Marval was an eminent explorer in the Fauvist virgin forest, where, as a subtle white panther, on the warpath against academicism, she brought with her all the other Fauves : Matisse, Braque, Vlaminck, Dufy, Friesz, Van Dongen. She was the bright and divine agitator in this rebellion, along with Jules Flandrin who during their annual holiday, provided his friends with a little well thought out turbulence, such an attractive commotion that Francis Jammes “left Ortheez to come and see Marval at her Salon d’Automne”.
Marval was therefore, the find, brought back from the sunny glade, the mysterious thickets, only stopping at the faraway banks where banal hopes never reach; Marval was a revelation in a blue paradise… where flowers, ribbons and all the showy stuff tempting the eyes of our feeble sisters, became as precious and worthy as the wedding gifts of these queens for a day.
What Marval was in search of, what she brought back from these unknown regions at the farthest boundaries of the land of dreams, was a treasure so luminous that it dazzled with a shinning whiteness all French art ! We remember the “Fauve” room at the Salon d’Automne, the cries proclaimed not by the Fauvists, but by such crowds of people that it was here we could see the extent of the movement launched by Marval.
Since then, time passed, other processions came… It is difficult for one who lived in the generous moments of the generous Marval, to dare have the impropriety to write her preferences on the works of one of these modern painters who gave so much, who taught so much and who represented one of the most beautiful expressions of art at that time : Marvalian Fauvism.
The elite were quick to attribute to Marval the place she would occupy in history at a time when even the most hesitant gave her hommage, when even the oldest latecomer of the living and sensual moment, “l’Université de France” indoctrinated her in its textbooks with such certainty in what was acceptable, and praised the art of one who hated gerontocracy!
As for us, whose role it is as avant guardists to conceive before the conceives, it is not without feeling or admiration that we write: Marval was the first to express with hues of extensive immaculate white, that the relationship between shades, from bright to light, almost equal hues, can illustravely be situated on a painting by shaping them with nuances of warm greys contrasted with cold greys, while a reminder of black can allow the eye to endlessly measure the scope between bright and dark on the display of colours.
Jacqueline Marval, is clear painting!
ANDRY-FARCY (DR) Conservateur du Musée de Grenoble. (de 1919 à 1949)