Bijgewerkt in oktober 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 2 werken van André Utter in onze catalogus
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Het beroemdste schilderij van André Utter is Portrait of Suzanne Valadon (1921); het origineel bevindt zich in het Musée d'Art Moderne et Contemporain de Strasbourg, Straatsburg. Van de 2 werken van André Utter in onze catalogus zijn dit de 2 bekendste, gerangschikt met elk hun jaartal en museum, zodat u het schilderij kunt kiezen om te bestellen.
De 2 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van André Utter | Schilderijen uit deze lijst |
|---|---|---|---|
 Musée d'Art Moderne et Contemporain de Strasbourg |
Straatsburg | 1 | Portrait of Suzanne Valadon |
 Musée Des Beaux |
Brest | 1 | Coupe de fruits |
De gedateerde schilderijen van André Utter hier vallen binnen een periode van 11 jaar, van 1911 tot 1921. Blader jaar voor jaar door de collectie om uw favoriet te kiezen.
Selecteer een jaar om de bijbehorende schilderijen te bekijken.
Portrait of Suzanne Valadon (1921) staat op de eerste plaats.
André Utter was 35 jaar oud: Portrait of Suzanne Valadon dateert uit 1921, en André Utter werd geboren in 1886.
2 werken van André Utter zijn opgenomen in onze catalogus, gedateerd van 1911 tot 1921.
Voornamelijk in Musée d'Art Moderne et Contemporain de Strasbourg (Straatsburg) en Musée Des Beaux (Brest). Zie de museumtabel hierboven voor de volledige lijst.
Eerste op deze pagina: Coupe de fruits (1911). Laatste: Portrait of Suzanne Valadon (1921).
Ja. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie of als een print. Open het schilderij, kies de gewenste afmeting en plaats uw bestelling.
In the vibrant, bohemian heart of early twentieth-century Paris, few figures were as inextricably linked to the era's artistic pulse as André Utter. Born in 1886 in the 18th arrondissement to parents of Alsatian descent, Utter’s life was a tapestry woven from passion, scandal, and profound connection to the avant-garde. He is perhaps most famously remembered not merely for his brushwork, but as one half of the trinité maudite—the cursed trinity. Alongside his wife, the formidable painter Suzanne Valadon, and her son, the celebrated Maurice Utrillo, Utter lived a life defined by intense emotional highs, turbulent reconciliations, and the heavy shadows of alcoholism and shared struggle.
His entry into the inner sanctum of Montmartre’s artistic elite was serendipitous. Introduced to Valadon through her son, Utter initially served as a muse, posing nude for her between 1909 and 1914. This period of intimacy was captured in several of Valadon's most striking works, where Utter’s physical presence became a cornerstone of her evolving style. Their relationship, which blossomed into a profound romantic bond, eventually led to marriage just before the upheaval of World War I. During this era, Utter was not merely a companion but a vital pillar in the professional lives of both Valadan and Utrillo, acting as a manager who navigated the complexities of their burgeoning careers.
The trajectory of Utter’s artistic development reflects the broader shifts occurring within French modernism. In the years following his return from the Great War, his work began to mirror the structural experiments of the age. Initially, he found inspiration in the fractured geometries of Cubism, applying these radical perspectives to the landscapes of his surroundings. His studio on rue Cortot became a vantage point for capturing the rhythmic essence of Parisian streets, where light and form danced in new, more structured configurations.
As time progressed, however, the sharp edges of Cubist influence began to soften. After 1925, Utter’s focus shifted away from the experimental landscapes toward a more intimate exploration of the human subject and the quiet beauty of the everyday. His later repertoire was characterized by:
This transition from the structural rigor of his youth to a more lyrical, emotive approach allowed him to maintain a presence in the Parisian galleries, including the esteemed gallery of Berthe Weill. While he sought solo recognition—notably through an exhibition in Geneva in 1932—his legacy remains deeply intertwined with the collective spirit of the Montmartre era.
Though history often remembers André Utter through the lens of his tumultuous personal relationships, his contribution to the fabric of French painting is undeniable. He was a painter who lived the very life he sought to capture—a life of intense color, dramatic shifts in perspective, and an unwavering commitment to the artistic community. His work, though sometimes overshadowed by the monumental fame of Valadon and Utrillo, stands as a testament to a period of unparalleled creative ferment.
Even after his divorce from Valadon in 1934, Utter remained a permanent fixture in her life until her passing, eventually finding his final rest alongside her in the Saint Ouen cemetery. Today, his paintings—ranging from the evocative Portrait de Madame Germaine Eisenmann to his early landscapes—serve as vital windows into a lost world of Parisian bohemianism, reminding us of a time when art and life were indistinguishable.
