Rating and value of paintings by Suzanne Valadon

Known for being the first woman to be admitted to the École des Beaux Arts in Paris, Suzanne Valadon (1865-1938) developed her own style, blending Impressionist and Expressionist painting.

In addition to being a talented artist, Suzanne Valadon was one of the most prized models among Parisian artists due to her singular physique and distinctive features that left no one indifferent.

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Rating and value of the artist Suzanne Valadon   

Suzanne Valadon is a well-known artist among contemporary art lovers. Now, prices for her works are rising under auctioneers' gavels.

Her oils on canvas are particularly prized, especially by French buyers, and the price at which they sell on the art market ranges from €30 to €331,900, a significant delta but one that speaks volumes about the value that can be attributed to the artist's works.

In 2023, his oil on canvas Nu à la draperie dating from 1921 sold for €331,900, while it was estimated at between €43,670 and €61,140. Its price has risen sharply.

Order of value from the most basic to the most prestigious

The artist's works and style

Suzanne Valadon's creations are distinguished by a bold palette of vivid colors and assertive flat tints, testifying to her roots in the modern avant-garde. Imbued with the influence of the Impressionists, her works glow with luminosity and exude a vibrant vitality.

Her artistic style, both courageous and expressive, captures moments of intimacy with rare originality, combining psychological finesse and modernity.

Over the years, her artistic evolution will lead her to produce works of increasing intensity, where expressionism takes an increasingly prominent place.

The life of Suzanne Valadon

Marie-Clémentine Valade, known as Suzanne Valadon, was born in Paris in 1865. As a child, she lived with her mother, a laundress in Montmartre.

Suzanne Valadon took her first steps in art as a model. She posed for painters such as Toulouse-Lautrec and Chavanne. 

It wasn't until the early 1880s that the young model decided to cross over to the other side of the canvas and began painting. Impressed by her talent, Edgar Degas took her under his wing and taught her the basics of painting as well as engraving.

In 1894, Suzanne Valadon became admitted  to the Société Nationale des Beaux-Arts de Paris. She distinguished herself by her modern approach, being one of the first to depict nude men in monumental works.

The artist led an affluent life and a first exhibition was dedicated to her in 1911. This was the start of a series of exhibitions dedicated to her work. The post-war period proved extremely productive for the artist, who created numerous portraits, nudes and still lifes.

She was initially influenced by Impressionism in a mimetic way, her master having been Degas, but her later works follow the evolution of the twentieth century, we see in particular the deformation of bodies and the use of bright colors structuring the second part of her career.

Inspired by her entourage, Suzanne Valadon painted numerous portraits, notably of her son, her mother, but above all André Utter, her lover and principal model.

She died at the age of 73, surrounded by her friends Picasso, Derain and Braque.

Her way of working

Suzanne Valadon's works are distinguished by the use of bright colors and bold solids, anchoring her work in the modern avant-garde.

Inspired by the Impressionists, she infuses her paintings with a luminosity that immediately captures attention. Her style, both expressive and original, allows her to capture intimate moments with a touch of modernity that disconnects her from her contemporaries.

In her compositions, Valadon shows a great mastery of space. She prefers a free, dynamic organization, often placing her subjects in the foreground to create a closeness that gives her figures an almost tangible presence.

This approach strengthens the connection between the viewer and the work, while emphasizing the intensity of the emotions she captures.

Valadon doesn't hesitate to use bold, contrasting colors, reinforcing the visual impact of her works. Her flat tints of color, deployed without transitions, add an eye-catching strength and simplicity.

In parallel, her firm, marked lines delineate shapes with precision, giving her subjects a clarity and intensity that make them unforgettable. She also liked to incorporate repetitive motifs and decorative elements into her canvases, bringing a subtle rhythm that enriches the composition.

Beyond technique, Valadon explored a diversity of subjects with great sensitivity. Her portraits, often of women, reveal a rare psychological depth, while her scenes of everyday life sincerely capture the reality of her time.

In her still lifes, she managed to infuse an unexpected vitality, transforming simple objects into emotionally charged elements.

Today, Suzanne Valadon's works are particularly prized on the art market, frequently fetching tens of thousands of euros.

They reflect a unique artistic vision, where color and space are at the service of a bold modernity. With his innovative approach, Valadon broke with the conventions of his time, leaving a lasting imprint that continues to inspire and fascinate.

Suzanne Valadon and the Musée de Montmartre

Understanding Post-Impressionism in Valadon

Post-Impressionism is a term for a fascinating period in art history, from 1880 to 1910. During these three decades, art was transformed with the emergence of movements such as Pointillism, Synthétisme, Symbolism and the Nabis, each proposing a new way of seeing and representing the world.

In 1886, art critic Félix Fénéon published "Les impressionnistes", an essay that heralded the end of Impressionism as it was known in the 19th century. According to him, this exhibition marked the end of an era and the beginning of new artistic explorations.

Later, in 1906, critic Roger Fry popularized the term "postimpressionism" after an exhibition at London's Crafton Galleries. This appellation gave a boost to the art market, particularly in the United States, by signaling that Impressionism was now a thing of the past.

Postimpressionism is not a single style, but rather a label to describe a transitional period between Impressionism and the subsequent avant-gardes. It was a time of experimentation, when artists sought to go beyond classic Impressionist techniques.

Artists like Vincent van Gogh, with his bright sunflowers and lively landscapes, or Paul Cézanne, with his geometric shapes and deconstructed landscapes, are emblematic of this period.

Georges Seurat, with his famous "Un dimanche après-midi à l'île de la Grande Jatte" in pointillism, and Émile Bernard, with his bold colors and the creation of synthetism also illustrate the innovative spirit of postimpressionism.

It's important to note that the term "postimpressionism" does not define a particular style but a phase of varied artistic research. Suzanne Valadon, for example, explored different approaches to the composition of her paintings and the use of color.

Although her works bear traces of Impressionism, such as the fine lines and natural colors of her portraits, they evolve towards a more Expressionist approach with sharper contours and greater emotional depth. 

Over time, the work of Valadon and other artists of this period prefigures future developments in art. Innovations in the treatment of space and form, such as the works of Cézanne and van Gogh, heralded the beginnings of Cubism and other avant-garde movements. 

In short, post-impressionism was an era rich in artistic change, marked by artists who went beyond the limits of Impressionism to explore new forms of expression.

Focus on La chambre bleue, 1923

La Chambre Bleue, painted in 1923 by Suzanne Valadon, is a work that captures the spirit of its time, on the border between Impressionism and Modernism. In this painting, a nude woman rests in a room painted entirely in blue, creating an atmosphere that is both calm and enveloping.

Valadon, having moved from model to painter, moves away from Impressionist approaches, offering a more direct and personal vision. Instead of capturing a fleeting moment, she focuses on structured composition and a bold use of color.

The woman is painted with sharp shapes and marked contours, giving her a strong, real presence. The forms are not idealized but rendered with raw sincerity, which stands out from more traditional representations of the nude. 

Color plays a key role in the work. Blue envelops the room and creates an intimate atmosphere, while the warmer tones of the woman's body add an interesting contrast. The soft light that bathes the scene reinforces this impression of everydayness and realism.

The way Valadon organizes the space is also significant. The elements of the room are placed in such a way as to create an internal harmony, with each part contributing to the overall balance of the painting. This approach to space heralds future explorations in art. 

In sum, La Chambre Bleue shows how Valadon, with his mastery of form and color, explores new artistic avenues. The work offers a personal, modern vision that marks an important step between Impressionism and the innovations of the 20th century.

His signature

Not all of Suzanne Valadon's works are signed.

Although there are variations, here is a first example of her signature:

Expertise your property

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