{{Short description|French painter (1878–1974)}} {{Use mdy dates|date=July 2018}} {{Infobox artist | name = Émilie Charmy | image = Self-portrait by Émilie Charmy (1906–1907).jpg | caption = Self-portrait {{circa}} 1906 | birth_name = Émilie Espérance Barret | birth_date = {{Birth date|1878|4|2}} | birth_place = [[Saint-Etienne]], France | death_date = {{Death date and age|1974|6|7|1878|4|2}} | death_place = Paris, France | resting_place = | resting_place_coordinates = <!-- {{Coord|LAT|LON|type:landmark|display=inline,title}} --> | spouse = George Bouche | field = Painting | training = Jacques Martin | alma_mater = | movement = [[Impressionism]], [[Post-Impressionism]], [[Fauvism]], [[School of Paris]] | works = | patrons = | memorials = | elected = | website = <!-- {{URL|Example.com}} --> | module = | awards = [[Legion of Honour]] – Officer (1938) }} '''Émilie Charmy''' ({{IPA|fr|emili ʃaʁmi}}; April 2, 1878 – June 7, 1974) was an artist in France's early avant-garde. She worked closely with [[Fauvism|Fauve]] artists like [[Henri Matisse]], and was active in exhibiting her artworks in Paris, particularly with [[Berthe Weill]].<ref>Linda L. Clark ''Women and Achievement in Nineteenth-Century Europe'' 2008 – Page 97 "In such circumstances, Émilie Charmy and Jacqueline Marval, both first trained for schoolteaching in the provinces, appreciated Berthe Weill's promotion of their work. Weill opened a gallery in Paris in 1901 and was one of the few women art ..."</ref>
She had become an artist against the norms for French women in her day and became a well-regarded artist. She painted still lifes, landscapes, portraits, and figure paintings. Unusually for a woman at the time, she made a number of paintings of nude women in poses of sexual abandon. Charmy's initial works were [[Impressionism|Impressionist]] and [[Post-Impressionism|Post-Impressionist]] paintings. As her career evolved, she was influenced by [[Fauvism]] and the [[School of Paris]] movements.
== Early life == Émilie Espérance Barret was born on April 2, 1878, in [[Saint-Etienne]], France.<ref name="Gaze">Delia Gaze. ''[https://books.google.com/books?id=6_0Y0PALzQMC&pg=PA379 Dictionary of Women Artists: Artists, J-Z]''. Taylor & Francis; January 1997. {{ISBN|978-1-884964-21-3}}. p. 379–380.</ref><ref name="Fralin p. 3">[http://www.virginia.edu/artmuseum/pdf/labels_charmy.pdf ''Émilie Charmy Special Exhibition: August 23, 2013 – February 2, 2014.''] The Fralin Museum of Art, University of Virginia. p, 3. Retrieved March 20, 2014.</ref>
She grew up in a [[bourgeois]] family; her grandfather was Bishop of [[Toulouse]] and her father owned an iron foundry. She had two older brothers, one whom died of appendicitis.<ref name="Perry pp. 21, 23">Perry, Gill. ''[https://www.amazon.com/dp/0719041651 Women Artists and the Parisian Avant-Garde]''. Manchester and New York: Manchester University Press, distributed by St. Martin's Press, 1995. pp. 21, 23.</ref> Orphaned when she was 15, she and her older brother Jean Barret then lived with relatives in [[Lyon]].<ref name="Perry p. 23" /> Émilie had a talent for both art and music as a child.<ref name="EC web">[http://emiliecharmy.fr/en/biography.php ''Biography''.] Emile Charmy website. Retrieved March 20, 2014.</ref>
== Education == Émilie received a [[Bourgeoisie|bourgeois]] educational training at a [[Catholic school|Catholic private school]], and qualified to become a teacher,<ref name="Perry p. 23" /> which if a woman were to have a career was limited to education.<ref name="Perry p. 23">Perry, Gill. ''[https://www.amazon.com/dp/0719041651 Women Artists and the Parisian Avant-Garde]''. Manchester and New York: Manchester University Press, distributed by St. Martin's Press, 1995. p. 23.</ref>{{#tag:ref|[[Shari Benstock]] recounts that early 20th-century French women's lifestyles "lagged far behind their American and English peers in their efforts to gain political and legal [[Gender equality|equality]]." She notes that French women did not enjoy [[suffrage|voting]] or equal pay rights until 1944, and explains that the most influential factors in a woman's life were the church, and [[Rousseau]]ian ideals of a traditional family unit.<ref name="Perry p. 85" />|group="nb"}}
When living at Lyon, she refused teaching jobs in the late 1890s<ref name="Perry p. 23"/> and went to study and work in the studio of Jacques Martin. This was a critical moment in the further development of her career. Martin was involved with a number of other Lyon artists who became influential in Émilie's artistic development, including Louis Carrand and François Vernay who had a local reputation for a unique approach to flower painting.<ref name="Perry pp. 21, 23" />
During this time she assumed the name Émilie Charmy as her [[pseudonym]].<ref name="Fralin p. 3" />
== Career ==
=== Overview === When women were shunned from the French [[art world]], and most women regarded painting as a hobby,<ref name="Perry p. 85" /> Charmy was consumed by her work and was entirely financially dependent on her art.<ref name="Perry p. 52" /> For her, "painting was an obsession which dominated many other aspects of her life".<ref name="Perry p. 85">Perry, Gill. ''[https://www.amazon.com/dp/0719041651 Women Artists and the Parisian Avant-Garde]''. Manchester and New York: Manchester University Press, distributed by St. Martin's Press, 1995. p. 85.</ref> Charmy primarily painted women in domestic or bourgeois settings, as well as pictures of flowers and [[still-life]].<ref name="Perry p. 25">Perry, Gill. ''[https://www.amazon.com/dp/0719041651 Women Artists and the Parisian Avant-Garde]''. Manchester and New York: Manchester University Press, distributed by St. Martin's Press, 1995. p. 25.</ref> Her flower paintings and still-life paintings were very marketable because they were considered decorative, and were sought after by the middle class.<ref name="Perry p. 52">Perry, Gill. ''[https://www.amazon.com/dp/0719041651 Women Artists and the Parisian Avant-Garde]''. Manchester and New York: Manchester University Press, distributed by St. Martin's Press, 1995. p. 52.</ref> In regards to Charmy's nude paintings, Gill Perry proposes that Charmy is intentionally trying to restrict the viewer from the intimate scenes that she depicts.<ref name="Perry p. 25" />
French novelist [[Roland Dorgelès]] described Charmy as "a great free painter; beyond influences and without method, she creates her own separate kingdom where the flights of her sensibility rule alone."<ref name="Perry p. 100" /> There is a great sense of [[abstraction]] in her images, with varying opinions by [[art critic]]s.<ref name="Perry p. 25" /> Her bold use of color and her unapologetic brushstrokes have been deemed as "appropriating...a 'masculine' language of art production", according to her contemporaries.<ref name="Perry p. 55">Perry, Gill. ''[https://www.amazon.com/dp/0719041651 Women Artists and the Parisian Avant-Garde]''. Manchester and New York: Manchester University Press, distributed by St. Martin's Press, 1995. p. 55.</ref> The most famous quote came from [[Roland Dorgelès]]:
{{Blockquote|Émilie Charmy, it would appear, sees like a woman and paints like a man; from the one she takes grace and from the other strength, and this is what makes her such a strange and powerful painter who holds our attention.<ref name="Perry p. 100">Perry, Gill. ''[https://www.amazon.com/dp/0719041651 Women Artists and the Parisian Avant-Garde]''. Manchester and New York: Manchester University Press, distributed by St. Martin's Press, 1995. p. 100.</ref>}}
It is Charmy's resistance to traditional [[gender roles]] that makes her unusual for her time.<ref name="Green p. 169">Christopher Green. ''[https://books.google.com/books?id=vlY6SLmg-xEC&pg=PA169 Art in France, 1900–1940]''. Yale University Press; 2000. {{ISBN|978-0-300-09908-9}}. p. 169.</ref> For her career and depiction of nude women in a period in which that was unusual for women, she epitomized the [[New Woman]] of the 19th century and early 20th century.<ref>Cornelia Schulze. ''The Battle of the Sexes in D.H. Lawrence's Prose, Poetry and Paintings''. Universitätsverlag C. Winter; 2002. {{ISBN|978-3-8253-1359-3}}. p. 52.</ref>
In terms of the business side of her career, Charmy refused to sign contracts with [[art dealer]]s and [[Art gallery|gallery]] owners, save for one unsuccessful contract with the dealer Pétridès in the early 1930s.<ref name="Perry p. 89">Perry, Gill. ''[https://www.amazon.com/dp/0719041651 Women Artists and the Parisian Avant-Garde]''. Manchester and New York: Manchester University Press, distributed by St. Martin's Press, 1995. p. 89.</ref>
=== Early career === In the 1890s, Charmy began making [[Impressionism|Impressionist]] and [[Post-Impressionism|Post-Impressionist]] paintings of subjects that ranged from prostitutes and brothels to scenes of middle-class family life.<ref name="Gaze" /> For instance, she made orient-influenced ''Girl with a Fan'' {{circa|1898–1900}}, a morphine addict in ''Woman in an Armchair'' {{circa|1897–1900}}, a group of nude prostitutes in ''La Salon'', cultured women in ''Card Players'' and ''Interior in Saint-Etienne'' {{circa|1897–1900}}.<ref name="Fralin p. 3" />
In 1902 or 1903, Charmy and her brother left Lyon for [[Saint-Cloud]], near Paris.<ref name="Gaze" /> Charmy exhibited her works in a number of [[art gallery|galleries]], but they were not exhibited with her male contemporary artists, and therefore were not assessed in the same professional manner as paintings made by male [[modernism|modernist]] painters.<ref name="Gaze" /> Her first documented show was at the "[[Société des Artistes Indépendants|Salon des Indépendants]]" in 1904, and it is likely that it was through this show that she befriended other [[Fauvism|Fauve]] artists, like [[Henri Matisse]], [[Charles Camoin]], and [[Albert Marquet]].<ref name="Perry p. 46" />
In 1905 she exhibited two still-life paintings titled ''Dahlias'' and ''Fruit'', at the [[Salon d'Automne]].<ref name="Perry p. 46">Perry, Gill. ''[https://www.amazon.com/dp/0719041651 Women Artists and the Parisian Avant-Garde]''. Manchester and New York: Manchester University Press, distributed by St. Martin's Press, 1995. p. 46.</ref> Which were seen and appreciated by [[Berthe Weill]], who from then on promoted her work<ref name="Gaze" /> and became a good friend.<ref name="Fralin p. 4">[http://www.virginia.edu/artmuseum/pdf/labels_charmy.pdf ''Émilie Charmy Special Exhibition: August 23, 2013 – February 2, 2014.''] The Fralin Museum of Art, University of Virginia. p, 4. Retrieved March 20, 2014.{{dead link|date=October 2023}}</ref> In 1906, she showed 5 flower paintings and one [[still life]] titled ''Prunes'', also at the [[Salon d'Automne]].<ref name="Perry p. 46" />
=== Fauvism === [[File:Self-portrait by Émilie Charmy (c. 1906).jpg|thumb|''Self-portrait'' (c. 1906)]] [[File:Young woman with her head thrown back.jpg|alt=eune femme tête renversée (Young woman with her head thrown back). 1920, Oil on canvas board.|thumb|''Jeune femme tête renversée'' (''Young woman with her head thrown back''), 1920, oil on canvas board]] Influenced by other artists at the time such as Matisse, she integrated [[Fauvism]] techniques into her paintings, as seen in ''Woman in a Japanese Dressing Gown'' (1907). As a result of "experiments with colour, [[impasto|thickly applied paint]] and seemingly crude brushwork she produced a series of bold and technically innovative paintings".<ref name="Gaze" />
Concerning ''Woman in a Japanese Dressing Gown'', Charmy "adopts a theme which also appears in works by Matisse, [[Charles Camoin|Camoin]], [[André Derain|Derain]], and Marquet from 1905, shortly after Matisse's wife had purchased a Japanese kimono and posed in it for members of the group".<ref name=":0">{{Cite book|title=Women Artist and the Parisian Avant-Garde|last=Perry|first=Gill|publisher=New York City, NY: St. Martin’s Press|year=1995|pages=58}}</ref> Their compositions feature the perfect and conventional image of femininity, with all of its decorative, and oriental/[[Primitivism|primitive]] references. Charmy's depiction is a significant contrast, as her subject "despite her oriental dressing gown, is represented as the modern woman without the ornamental or coiffured hair. She assumes an almost hieratic standing pose, in the center of the canvas, and stares out somewhat disconcertingly, directly at the viewer. She seems to stand out rigidly against her domestic interior, a rigidity which is emphasized by the use of bright colors outlined in dark brushwork."<ref name=":0" />
Other paintings from this period include the landscapes ''Piana, Corsica'' (1906), ''L'Estaque'' {{circa|1910}} and ''Corsican Landscape'' {{circa|1910}} made when she traveled to the coast of the French Mediterranean and Corsica with Matisse and his friends.<ref name="Fralin p. 4" /> An unconventional aspect of her style was to leave parts of her canvas unpainted in this series of paintings, a technique used by her male [[Fauvism|Fauve]] counterparts.<ref>Steve Edwards; Paul Wood. ''[https://books.google.com/books?id=TU0KwJuBvAsC&pg=PA78 Art of the Avant-gardes]''. Yale University Press; 2004. {{ISBN|978-0-300-10230-7}}. p. 78.</ref>
Charmy established a studio in Paris at 54 Rue de Bourgogne in 1908.<ref name="Gaze" /> She moved there permanently in 1910 and remained there for the rest of her life.<ref name="Perry p. 151">Perry, Gill. ''[https://www.amazon.com/dp/0719041651 Women Artists and the Parisian Avant-Garde]''. Manchester and New York: Manchester University Press, distributed by St. Martin's Press, 1995. p. 151.</ref>
Paintings that she made of Corsica and the French Mediterranean were exhibited at Eugène Druet's gallery in 1911 in Paris.<ref name="Fralin p. 4" /> In 1912, her first major solo exhibition was held at the Galerie Clovis Sagot.<ref name="Gaze" /> It is listed as having a minimum of forty oil paintings and twenty-five watercolors.<ref name=":1">{{Cite book|title=Emilie Charmy|last=Affron|first=Matthew|publisher=Charlottesville, Virginia: The Fralin Museum of Art|year=2013|pages=22}}</ref> Charmy is remembered in the United States as being one of the artists who exhibited at the 1913 [[Armory Show]], where she exhibited four works, ''Roses'', ''Paysage'', ''Soir'', and ''Ajaccio''.<ref>Brown, Milton W., ''The Story of the Armory Show'', The Joseph H. Hirshhorn Foundation, 1963, p. 231</ref> This exhibition is also where [[Arthur Jerome Eddy]] purchased ''L'Estaque'', and he "praised the picture or its arbitrary, abstract colors and bold, decorative composition in his 1914 ''Cubists and Post Impressionism''."<ref name=":1" />
Fellow artist and her lover, George Bouche, had a home in scenic Marnat, which is believed to be the subject of her paintings ''The Path toward the House'' and ''Landscape'', made between 1913 and 1915. The works represented a shift to more intimate pictures made with vigorous brushstrokes and a palette of medium-light to dark tones.<ref name="Fralin p. 6">[http://www.virginia.edu/artmuseum/pdf/labels_charmy.pdf ''Émilie Charmy Special Exhibition: August 23, 2013 – February 2, 2014.''] The Fralin Museum of Art, University of Virginia. p. 6. Retrieved March 20, 2014.{{dead link|date=October 2023}}</ref>
=== School of Paris === In the 1910s Bertha Weill began exhibiting her work. Her style evolved again during that decade, this time to that of the [[School of Paris]]. Her work became increasingly respected by art critics, such as Louis Vauxcelle who in 1921 described her as "one of the most remarkable woman [artists] of our time". Recognizing the difference between Charmy's work and that of the stereotypically refined feminine artist, writer [[Roland Dorgelès]] said the same year that she "sees like a woman and paints like a man".<ref name="Gaze" />
A solo exhibition of her work was held in 1919 at the Galerie André Pesson.<ref name="Gaze" /> Also in 1919, Charmy makes the acquaintance of the Count Etienne de Jouvencel, who becomes a patron of her work.<ref>Musée Paul Dini. ''Suzanne Valadon, Jacqueline Marval, Émilie Charmy, Georgette Agutte: les femmes peintres et l'avant-garde, 1900–1930''. Somogy; 2006. {{ISBN|978-2-7572-0015-5}}. p. 49.</ref> An exhibition of Charmy's work was held at the Galerie Œuvres d’Art in 1921.<ref name="Gaze" />
=== Feminine Art === [[File:Emilie Charmy Hania Routchine nue 1921.jpg|alt=Hania Routchine, naked. 1921, Oil on canvas.|thumb|left|upright=1.2|''Hania Routchine, naked'', 1921, oil on canvas. "There is a whole harem whose captives sometimes experience, according to Charmy's whim, an hour of light - like this sleeping brunette, this lively and happy brunette..., mirror of the day and all its reflections, a work so warm and so freely distanced from painting" ([[Colette]], 1921)]] [[Women artists]] were generally banned from art studios or academies during sessions with live models, so many women painted bourgeois life by default.<ref>Gillian Perry. ''[https://books.google.com/books?id=LIARJjg8w_gC&pg=PA201 Gender and Art]''. Yale University Press; 1999. {{ISBN|978-0-300-07760-5}}. p. 201.</ref> Yet, Charmy's work exhibits an interest in painting female models and prostitutes, including expression of women's sexuality. Such images of women are common among male artists such as [[Degas]], but were rare among women artists. Most women artists were interested in painting an idyllic view of women and their children.<ref name="Gaze" /><ref name="Green p. 169" /><ref>Gillian Perry. ''[https://books.google.com/books?id=LIARJjg8w_gC&pg=PA207 Gender and Art]''. Yale University Press; 1999. {{ISBN|978-0-300-07760-5}}. p. 207.</ref> Despite Charmy's interest in using female models as subjects for her paintings, she avoided the mother-and-child theme that was becoming increasingly popular, especially with contemporary artists like [[Mary Cassatt]].<ref name="Perry p. 85" />
Author and art historian Matthew Affron said of Charmy's choice of subject matter that "the key issues in Charmy's putative [[Naturalism (art)|naturalism]] – the [[anthropocentrism]], the revival of historical [[History painting|genres]], and the modernist conception of brushwork as the sign of artistic expression – came together most vividly in her painting of the nude. Uniformly female, the nudes appear in simple interior settings. Frequently their poses evoke academic and salon-style precedents, including many variations on the single figure standing or seated, prone or supine, or reclined laterally either toward or away from the viewer. Charmy often worked with studio models, and she also was interested in the subgenre of the nude portrait. Some of these images bear such a strong resemblance to the artist that they are considered self-depictions."<ref>{{Cite book|title=Emilie Charmy|last=Affron|first=Matthew|publisher=Charlottesville, Virginia: The Fralin Museum of Art|year=2013|pages=27–28}}</ref>
There have been many speculations as to why Charmy chose such a controversial subject matter. One interpretation, is that "in adopting a contradictory viewing position (i.e. that of a woman viewing the female sexuality) and a modern technique, she has produced an ambiguous version of a popular contemporary theme... Charmy has appropriated and reworked a 'male gaze' removing some of the erotic pleasure involved in the part of the viewing subject."<ref>{{Cite book|title=Gender and Art|last=Perry|first=Gill|publisher=London, England: Yale University Press in association with The Open University|year=1999|pages=211}}</ref>
In 1921, Charmy had a [[solo exhibition]] at the Galerie d'Oeuvres d'Art, and showed paintings of flowers, women, and female nudes. The show caused quite a stir in the Parisian art scene, and sparked a number of critical issues concerning "feminine" art.<ref name="Perry p. 98">Perry, Gill. ''[https://www.amazon.com/dp/0719041651 Women Artists and the Parisian Avant-Garde]''. Manchester and New York: Manchester University Press, distributed by St. Martin's Press, 1995. p. 98.</ref> The show was organized by Count de Jouvencel, who had discovered her at [[Berthe Weill]]'s gallery in 1919.<ref name="Perry p. 96">Perry, Gill. ''[https://www.amazon.com/dp/0719041651 Women Artists and the Parisian Avant-Garde]''. Manchester and New York: Manchester University Press, distributed by St. Martin's Press, 1995. p. 96.</ref>
Around 1922, Charmy met Colette, whom she befriended. Colette, at that time at the height of her popularity, wrote the introductory text for the catalog of a major exhibition of twenty pictures by Charmy, held in 1922. The same year, Charmy participated in another major exhibition at the Styles Gallery, on the theme of the "Female Nude", which included paintings by [[Ingres]], [[Eugène Delacroix|Delacroix]], [[Jean-Baptiste-Camille Corot|Corot]], [[Édouard Manet|Manet]], [[Pierre-Auguste Renoir|Renoir]], [[Georges Rouault|Rouault]] and Matisse, and a catalog prefaced by Louis Vauxcelles.<ref name="EC web" />
=== Later years === In 1926, another major solo exhibition of Charmy's work was held at the [[Galerie Barbazanges]].
She exhibited her works less frequently in the 1920s and 1930s, but had a number of patrons and collectors who supported her work.<ref name="Fralin p. 8" /> Charmy made paintings when she had been at her villa at [[Ablon-sur-Seine]], including two made between 1926 and 1930, ''View of the Seine at Ablon'', which is at the Musée de Grenoble, and ''Banks of the Seine at Ablon,'' at Galerie Michel Descours in Lyon. She also painted still lifes, nudes and self-portraits.<ref>[http://www.virginia.edu/artmuseum/pdf/labels_charmy.pdf ''Émilie Charmy Special Exhibition: August 23, 2013 – February 2, 2014.''] The Fralin Museum of Art, University of Virginia. pp. 8–9. Retrieved March 20, 2014.</ref> In the 1930s, Charmy was a member and exhibited her works at [[:fr:Société des femmes artistes modernes|Femmes Artistes Modernes]].<ref name="Fralin p. 8" />
After the war, Charmy exhibited less often than she had at the height of her career, but she continued to paint into her 90s.<ref name="Fralin p. 8" />
== Awards == Charmy was first brought to the attention of [[France]]'s [[Legion of Honour]] awards when she was introduced, through Eli-Joseph Bois (''[[Petit Parisien]]'' Director), to several political figures, including [[Édouard Daladier]], [[Aristide Briand]], and [[Louise Weiss]].<ref>{{cite book|title=Suzanne Valadon, Jacqueline Marval, Émilie Charmy, Georgette Agutte: les femmes peintres et l'avant-garde, 1900–1930|author=Musée Paul Dini.|publisher=Somogy|date=2006|isbn=978-2-7572-0015-5|page=51}}</ref> By decree on 13 January 1926, Charmy received a Legion of honour [[Knighthood]], which was later upgraded to the rank of Officer (decree: 5 August 1938).<ref>{{cite web|title=Bouche, Emilie Espérance - Legion of Honour, Registration Number: 130,502 - Certification Description Number: 43,897|website=National Archives - Léonore Database|location=France|page=1|language=fr|url=https://www.leonore.archives-nationales.culture.gouv.fr/ui/notice/45827|access-date=19 August 2021|url-status=live|archive-url=https://web.archive.org/web/20210819071047/https://www.leonore.archives-nationales.culture.gouv.fr/ui/notice/45827|archive-date=19 August 2021}} [https://archive.org/details/frdafan-84-o-19800035v-2301220-l Alt URL]</ref><ref>{{cite book|title=Dictionary of Women Artists|first=Chris|last=Petteys|publisher=G K Hill & Co. publishers|date=1985}}</ref>
== Personal life == In 1912 she met the painter George Bouche, and they had a son, Edmond, in 1915. Charmy and Bouche married in 1935.<ref name="Gaze" />
Edmond, like Charmy, was placed in the care of paid nurses and carers until the age of fourteen. Although this was acceptable during Charmy's childhood, this practice was becoming increasingly rare as traditional roles of [[motherhood]] were becoming more popular. In one biography, Edmond notes that "while some mothers glory in their offspring, Charmy hid hers jealously. This newly born knew neither the disorder of the studio nor the smell of paint."<ref name="Perry p. 84">Perry, Gill. ''[https://www.amazon.com/dp/0719041651 Women Artists and the Parisian Avant-Garde]''. Manchester and New York: Manchester University Press, distributed by St. Martin's Press, 1995. p. 84.</ref> Charmy was almost scorned by her art dealer, Berthe Weill, because she viewed Charmy's relationship with her son Edmond as distant and unnatural.<ref name="Perry p. 83">Perry, Gill. ''[https://www.amazon.com/dp/0719041651 Women Artists and the Parisian Avant-Garde]''. Manchester and New York: Manchester University Press, distributed by St. Martin's Press, 1995. p. 83.</ref>
After World War I, Charmy and Bouche had a villa in [[Ablon-sur-Seine]], as well as the studio-apartment in Paris. Her husband died in 1941 and during World War II, she and her son Edmond lived in Marnat in "isolated circumstances". After the war she returned to Paris, but many of the people that she knew in the art community were no longer there.<ref name="Fralin p. 8">[http://www.virginia.edu/artmuseum/pdf/labels_charmy.pdf ''Émilie Charmy Special Exhibition: August 23, 2013 – February 2, 2014.''] The Fralin Museum of Art, University of Virginia. p. 8. Retrieved March 20, 2014.</ref>
She died in 1974 in Paris.<ref name="Gaze" />
==Notes== {{Reflist|group="nb"}}
== References == {{reflist}}
== Further reading == * Valadon, Marval, Charmy, Agutte: ''Les Femmes Peintres et L'avant-garde, 1900–1930''. Paris: Somogy editions d'Art, Musee Paul-Dini, VilleGranche-sur-Saône, 2006.
== External links == * Emilie Charmy estate. ''[http://emiliecharmy.fr Archives Émilie Charmy]''. 123, Rue Vieille-du-Temple 75003 Paris France
{{New Woman (late 19th century)}} {{Authority control (arts)}}
{{DEFAULTSORT:Charmy, Emilie}} [[Category:French Post-impressionist painters]] [[Category:20th-century French painters]] [[Category:Fauvism]] [[Category:1878 births]] [[Category:1974 deaths]] [[Category:20th-century French printmakers]] [[Category:French women printmakers]] [[Category:20th-century French women painters]]