Madeleine Trusted-Fieux

Its biography

Madeleine Fié was born the September 23rd 1897 in Varennes in Gâtinais (currently Varennes-Changy), in the Département of Loiret (France). His/her father Emile-Edouard Fié was dentist and exerted in Paris, street of Passy. Without employment with the birth of Madeleine, her mother took the management of the pharmacy of her uncle six years later. At this point in time Madeleine became boarder with the Molière college until the sixteen years age.

She accepted education then of use then in the middle-class families: traditional studies, course of piano, song, diction, drawing. Noticing her particular attraction for the drawing, his/her mother made him give courses to the town hall of Passy by Mrs. Parent-Girard.

After this first year of studies devoted to the art of the portrait, the Madeleine young person realized in Varennes, where it spent all her holidays in her grandparents, the portrait with the charcoal of the wet cooper drum of the commune, Goix-the-splendid. Very satisfied, Goix exposed this portrait in the room of billiards of the coffee. It was there the first varnishing of Madeleine.

Indicator this portrait by buying its newspaper at Goix, the girl of the lady of the manor of Langesse, Miss de Bellecour, wrote a letter of introduction making it possible Madeleine to enter to the Académie Julian, street of Berri, in Paris. Madeleine will remain ten years there.

At twenty-four years, Madeleine falls seriously sick, victim of a Hémoptysie. The doctor prescribes to him a cure with Arcachon, where it settles and will reside three years at it. She carries out there her more beautiful portraits, devoted to the résiniers and those which suffer. Returned in Paris in full health, she marries Philippe Fieux, an young man prothesist whom she had met a few years before with the cabinet of her father, and who had become since an experienced dentist installed with Nantes.

The young husbands find a house in Nantes, boulevard of the English, and, on the councils of its mother, Madeleine her courses of drawing begin again. It is there that it meets Emile Simon, professor of drawing at the School of Beautiful arts of Nantes, which also gave particular lessons.

About 1934, Emile Simon made a marvellous portrait of Madeleine, table whose idea came to him following a recital from Chopin given by Mrs Trusted-Fieux one evening from Christmas. Consequently, and until the disappearance of Emile Simon, they were to be lost sight of the fact never again.

After the first bombardment of Nantes during the war, the house of Trusted-Fieux was destroyed, and they settled in that of Emile Simon. It was to some extent a rendered service, because Madeleine had financially helped Emile to buy this house with 22 rue George Sand. During the second bombardment of the city, it was the exodus towards the Finistere: initially with the manor of Kervao, close to Quimper, that they bought together, then to the manor of Squividan, in Clohars-Fouesnant, close to Bénodet in 1943. They could to it be devoted passionately to painting in their workshop on the second floor. Trusted-Fieux Dr. encouraged them and criticized their respective works.

They lived all the three in Squividan about thirty years. Philippe was not useless in the inspiration of the two artists, because it seems that it is him which switched them towards forgiveness, on which he was well documented.

Madeleine died the August 28th 1995 at it in Squividan. She bequeathed by will the manor to the department of the Finistere, which accepted it on December 8th, 1997. The clause of the legacy is the opening to in situ public of the collections.

Its work

Work paints of Madeleine Trusted-Fieux is primarily devoted to the art of the portrait, the floral compositions and the representation of the Breton statuary.

; The portrait Its interest goes especially on the portrait of humble, beautiful people it forever allured. One can admire some remarkable fabrics:

the résinier of Arcachon, 1928
the Player of Bagpipe, 1943
the Breton old man
the Apostle

To express its prayer with the lord at the time of the disease of her husband, it painted an apostle by taking for model a man of the people, an ironmonger.

After the death of Emile Simon, she undertook to make her posthumous portrait, thanks to drafts which she had carried out in the past, grace also to the encouragements of its family practitioner which was struck by the resemblance by seeing work under development.

; Bouquets The flowers occupied a great place in its life, there was a large garden in Squividan, she could animate the many ones and superb floral compositions with a great sensitivity.

; Statues of church It passed from the exquisite moments in the calm one and the meditation of the old vaults to fix on the fabric these testimonys of the Breton faith.

Notre-Dame de Kerdévote with Ergué-Gabéric, 1954
Notre-Dame of the Flowers with Saint Hackney carriage, 1958
Saint Nicolas in Briec, 1970

Source

pilot Painters of Brittany: Emile Simon, Madeleine Trusted-Fieux , catalog published by Mrs. Trusted-Fieux in 1987.

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