Malo-Renault | |
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Born | Émile Auguste Renault October 5, 1870 Saint-Malo, France |
Died | July 19, 1938 Le Havre, France | (aged 67)
Burial place | Rocabey Cemetery, Saint-Malo |
Nationality | French |
Occupation(s) | artist pastel, color engraver, illustrator |
Style | Art nouveau |
Spouse | Nori Malo-Renault |
Children | Jean Malo-Renault |
Website | malo-renault.fr |
Émile Auguste Renault, better known by his pseudonym Malo-Renault, was a French pastelist, color engraver and illustrator. He was born in Saint-Malo on October 5, 1870, and died in Le Havre on July 19, 1938.
Renault began drawing frequently in childhood. Auguste Lemoine (1848–1909), a drawing teacher at the college of Saint-Malo from 1883 to 1903, inspired him to draw from nature and in colour. Under the direction of Auguste Lemoine, Malo-Renault experimented with etchings. After completing his Bachelor of Arts, Malo-Renault went on to study architecture in Paris as a Stéphane Pannemaker student at the École nationale supérieure des arts décoratifs.
It was only after his marriage in 1897 with Honorine Tian (1871–1953), known as Nori Malo-Renault, a student of etcher Géry-Bichard [fr], that Malo-Renault began his engraving career with the support of his wife for the development of color prints, in particular in Le serpent noir by Paul Adam.
Between 1903 and 1928 he participated in many exhibitions at the Salon of the Société Nationale des Beaux-Arts, where he was a member from 1910. he is a representative of the art nouveau style with a Japanese influence.
He died accidentally in Le Havre, run over by a motorcycle, on July 19, 1938.
Malo-Renault found inspiration in his native land, Saint-Malo and Brittany: landscapes and Bretons are the first subjects of his pastels and his color prints.
He specialized in color engraving, first in etching, in soft varnish, then in drypoint. For his color prints, he uses several matrices (generally 2 to 4), one color per color. the identification of the engraved plates is necessary for the correct superposition on the paper. On the print of the Little Pussy, the traces of the two small holes for identification are clearly visible. In 1912, he took up wood engraving on the advice of Stéphane Pannemaker, but it was mainly afterwards that he adopted the process of wood with a penknife for the illustration of La Rapsode foraine and Le Pardon de Sainte-Anne ( 1920) based on this poem by Tristan Corbière.
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On the occasion of the release in 1922 of Jardin de Bérénice by Maurice Barrès, he engraved on wood the print of the menu for the Cent bibliophiles, using four plates for the four colors.
Pastels by Malo-Renault (early 20th century)