{"id":2361,"date":"2025-12-19T17:24:14","date_gmt":"2025-12-19T16:24:14","guid":{"rendered":"https:\/\/foujita.org\/foujita-by-dates\/arrival-in-france-and-the-beginnings-of-fame\/"},"modified":"2026-02-05T11:11:30","modified_gmt":"2026-02-05T10:11:30","slug":"arrival-in-france-and-the-beginnings-of-fame","status":"publish","type":"page","link":"https:\/\/foujita.org\/en\/foujita-by-dates\/arrival-in-france-and-the-beginnings-of-fame\/","title":{"rendered":"Arrival in France and the Beginnings of Fame"},"content":{"rendered":"\t\t
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02<\/p>\t\t\t\t<\/div>\n\t\t\t\t

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Arrival in France and the Beginnings of Fame<\/h1>\t\t\t\t<\/div>\n\t\t\t\t
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Paris, the Dream Becomes Reality<\/h2>\t\t\t\t<\/div>\n\t\t
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1913<\/p>\t\t\t\t<\/div>\n\t\t\t\t

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\"L\u00e9onard<\/p>

Settled at the H\u00f4tel Odessa, the painter Manuel Ortiz de Zarate took him to Picasso’s studio the next day. Within a few days, this visit brought him into the heart of the avant-garde. He also visited the Louvre, attended the Salon d’Automne, and began to observe, painting very little. He decided to abandon everything he had learned in Tokyo and start from scratch. His compatriot, the painter Kawashima Riishir\u014d (1886-1971), introduced him to the Acad\u00e9mie Duncan and assisted him in his various discoveries and experiments. By autumn, he moved to 14 Cit\u00e9 Falgui\u00e8re, thanks to Modigliani and Soutine. He assiduously frequented the Louvre, traveled to London in December, returned to Paris, and maintained a rich correspondence with Tomi, describing life in Paris and strongly urging her presence. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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1914<\/p>\t\t\t\t<\/div>\n\t\t\t\t

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Foujita and Kawashima bought land in Montfermeil, experiencing a beautiful return to ancient roots, but their momentum was cut short by the declaration of war, their expulsion from Montfermeil, and the destruction of their home. With family funds no longer reaching Paris, difficulties began, fostering exchanges. They joined the Red Cross to help France repel the enemy and endured dark times. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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1915<\/p>\t\t\t\t<\/div>\n\t\t\t\t

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In June, Count Paul-Alphonse Claret de Fleurieu, Foujita’s mentor during his journey, offered him refuge at the Ch\u00e2teau de Marzac in exchange for small tasks such as maintaining the chimneys and his troglodyte fortress of Reignac. Kawashima, who accompanied him, eventually left France in October for health reasons. Foujita completed this stay alone. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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1916<\/p>\t\t\t\t<\/div>\n\t\t\t\t

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In February, he returned to Paris and chose to go to London, where conditions were less difficult; after working as a furniture restorer for a Japanese antique dealer, he was a model maker at Selfridge’s when he had a romantic affair that suddenly made him doubt the relevance of his engagement.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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With Fernande: Achieving Success Amidst War<\/h2>\t\t\t\t<\/div>\n\t\t
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1917<\/p>\t\t\t\t<\/div>\n\t\t\t\t

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\"PortraitIn January, back in Paris, he informed his father that he was staying in Paris for his career and asked him to break off his engagement. Furthermore, he met a young painter, Fernande Barrey (1893-1974), at La Rotonde; he married her immediately and moved into her home at 5 Rue Delambre. Together, they organized a first exhibition of 110 watercolors in June and another of over a hundred works in November at Galerie Cheron, the dealer for Cha\u00efm Soutine and Amedeo Modigliani, on Rue de la Bo\u00e9tie. He achieved great success and a contract. Foujita successfully blended East and West in his paintings. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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1918<\/p>\t\t\t\t<\/div>\n\t\t\t\t

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\"Fernande,
Fernande Barrey in 1920<\/figcaption><\/figure>

In April, Foujita and Fernande stayed in Cagnes with Soutine and Modigliani at the invitation of the dealer L\u00e9opold Zborowski in a small house near Les Collettes, where they met Auguste Renoir at the end of his life. The encounter was memorable. The stay was foundational for Foujita. In November, back in Paris, he exhibited at the Devambez gallery. His success grew, critics praised the Japanese artist of Montparnasse and lauded his suburban landscapes inspired by Douanier Rousseau. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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1919<\/p>\t\t\t\t<\/div>\n\t\t\t\t

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In March, the Ch\u00e9ron gallery exhibited the syncretism of Foujita’s Mystical Compositions, which astonished all of Paris. In November, he participated for the first time in the Salon d’Automne and illustrated a first edition for La Belle \u00c9dition, 210 numbered copies of Quelques po\u00e8mes, de Komaki Ohmia<\/em>. Foujita here combined Japanese poetry with Westernized graphics. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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1920<\/p>\t\t\t\t<\/div>\n\t\t\t\t

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Foujita exhibited at the Salon des Ind\u00e9pendants, at Constant Lepoutre’s gallery, in Antwerp, and at the Salon d’Automne.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The Decisive Invention of the White Background<\/h2>\t\t\t\t<\/div>\n\t\t
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1921<\/p>\t\t\t\t<\/div>\n\t\t\t\t

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Foujita, a jury member for the Salon d’Automne, exhibited in Brussels, Rotterdam, and stayed in Rome with his patron Henri Seeholzer, a Swiss international lawyer. There, received by Pope Benedict XV, he visited the Vatican and admired Raphael, Botticelli, Verrocchio, and Michelangelo. The Holy Father, who had commissioned his portrait, died in the interim. Back in Paris, in the secrecy of his studio, he perfected his white background technique for Nudes, Portraits, and Still Lifes on canvas. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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1922<\/p>\t\t\t\t<\/div>\n\t\t\t\t

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\"Portrait<\/p>

For the first time, he presented two large-format paintings at the Teiten Salon in Tokyo, Mon Int\u00e9rieur<\/em> and Nature morte<\/em> au<\/em> r\u00e9veil matin<\/em> (Still Life with Alarm Clock), works exhibited the previous year at the Salon d’Automne. His father was proud. The Royal Museum of Fine Arts of Brussels acquired Mon portrait<\/em>, the first state acquisition. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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With Youki: Painting in the Roaring Twenties<\/h2>\t\t\t\t<\/div>\n\t\t
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Foujita exhibited at the Salon des Tuileries and became an associate member of the Salon de la Soci\u00e9t\u00e9 Nationale in Paris and the Teiten Salon in Tokyo. He decorated the interior of banker Fierens’ home in Antwerp, met Lucie Badoud (1903-1964) at La Rotonde, and left Fernande Barrey. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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1924<\/p>\t\t\t\t<\/div>\n\t\t\t\t

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At the Salon d’Automne, Foujita triumphed with his painting titled Youki, d\u00e9esse de la neige<\/em> (Youki, Goddess of Snow), depicting his new companion whom he nicknamed Youki<\/em>, meaning snow in Japanese. The couple moved to 17 Rue Henri-Martin in the Passy district. In November, he designed the costumes and created the set for Tournoi Singulier<\/em> for the Ballets Su\u00e9dois and exhibited at the Centaure gallery in Brussels. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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1924<\/p>\t\t\t\t<\/div>\n\t\t\t\t

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\"Andre<\/p>Andre Warnod and L\u00e9onard Foujita, 1925

Foujita received numerous portrait commissions and was the subject of a first monograph by Michel Vaucaire (1904-1980). A Knight of the Legion of Honor in France, he was also made a Knight of the Order of Leopold I in Belgium. The summer was spent at Les Sables Blancs. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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L\u2019Amiti\u00e9<\/em> (Friendship), a painting from 1924, was purchased by the French State for the Mus\u00e9e du Luxembourg. In November, he exhibited the Portrait du lutteur Tochigiyama<\/em> (Portrait of Wrestler Tochigiyama) at the Salon d’Automne. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The Katia Granoff gallery dedicated an exhibition to him, the Chalcographie du Louvre purchased the copper plate of a self-portrait, and the Th\u00e9\u00e2tre des Champs-Elys\u00e9es commissioned him for the sets and costumes of the play Shin-Kabuki Shuzenji-monogatari<\/em>, which was also performed at the Od\u00e9on. The summer was spent in Dinard and Br\u00e9hat. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Undoubtedly his most productive year, the commission from patron Satsuma Jirohachi for the decoration of the Maison du Japon at the Cit\u00e9 internationale universitaire de Paris\u2014two monumental diptychs, Grande Composition<\/em> and Combats<\/em>, presented at Bernheim-Jeune, and their cohort of preparatory drawings\u2014did not prevent him from creating numerous nudes, cats, children, illustrations, and engravings. The couple moved to Square Montsouris near Georges Braque and Andr\u00e9 Derain. Thanks to Youki, Foujita discovered surrealist ideas and Robert Desnos. Calder presented his Cirque<\/em> at their home during a memorable evening. The summer was spent with friends in Deauville and Br\u00e9hat. <\/p><\/div><\/div>

\"Foujita
Foujita and Yuki, 1927<\/figcaption><\/figure>

With his studio closer to Montparnasse, the painter received more visitors and models, including Jacqueline Barsotti, whom he shared with Man Ray. Located on the top floor of his Art Deco villa, his spacious workspace opened onto a pleasant balcony where he posed for photographer Andr\u00e8s Kert\u00e9sz. He himself acquired an ultra-modern Kodak camera, with which he filmed scenes of his models and especially Yuki. <\/p><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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1929<\/p>\t\t\t\t<\/div>\n\t\t\t\t

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At the 1st Salon of Japanese Artists in Paris, Galerie La Renaissance, he presented his monumental gold-background work L\u2019Arriv\u00e9e des Occidentaux au Japon<\/em> (The Arrival of Westerners in Japan), intended for the Maison du Japon, and undertook a series of eight gold panels for the Cercle de l\u2019Union Interalli\u00e9e on Rue du Faubourg Saint-Honor\u00e9. He presented Combats<\/em> and Grande Composition<\/em>, paintings rejected by Baron Satsuma, at the Mus\u00e9e du Jeu de Paume. He decided to marry Youki. His production intensified, focusing on children, cats, and still lifes, until his departure for Japan in September. <\/p>

The Asahi Shimbun newspaper scheduled major exhibitions in Tokyo, Osaka, and Fukuoka, all of which were successful. Youki met his father, brother, and sisters\u2014a return to his roots, certainly prompted by a tax adjustment, but one that filled them with happiness, immortalized by his 18mm Kodak camera. <\/p><\/div><\/div>

\"Youki,
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Bonus - Attitudes<\/h1>\t\t\t\t<\/div>\n\t\t\t\t
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Excerpts from films belonging to Youki and Foujita, 1928-1930\n\u00a9 editing and property of Didier Cou\u00ebdic, France<\/p>\t\t\t\t<\/div>\n\t\t\t\t

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In January, returning to Paris after a stopover in the United States, he was confronted with the proven romance between his wife and the poet Robert Desnos. This discovery so deeply affected him that he temporarily shifted to an expressionistic and flamboyant style for four large formats: Le lupanar<\/em> (The Brothel), Youki et le lion<\/em> (Youki and the Lion), Trois femmes<\/em> (Three Women), and La Victoire de la vie sur la mort<\/em> (The Victory of Life over Death). In autumn, he left Paris for New York, where he exhibited at the Reinhardt gallery and stayed for a month in Chicago. Youki spent the summer with Robert Desnos and moved in with him at 6 Rue Lacretelle. <\/p><\/div><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Foujita secretly prepared to leave Paris by organizing a solo exhibition tour in Latin America with his friend Vincente Do Rego Monteiro (1899-1970). He realized that he had fulfilled his mission as a Japanese painter in Paris, achieved maximum success, and was creatively stifled by the romantic turmoil Youki caused him. These reasons led him to abruptly leave France with his last model, Madeleine Lequeux, on October 31, 1931, leaving all his works to Youki, who was tasked with sharing them with Fernande. Foujita left a farewell letter for Youki and sent another to Robert Desnos, entrusting him with Youki’s care. <\/p><\/div><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Foujita's Definitive Return to the West<\/a><\/h1>\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

02 Back to Chapters Paris, the Dream Becomes Reality 1913 Settled at the H\u00f4tel Odessa, the painter Manuel Ortiz de Zarate took him to Picasso’s studio the next day. Within a few days, this visit brought him into the heart of the avant-garde. He also visited the Louvre, attended the Salon d’Automne, and began to […]<\/p>\n","protected":false},"author":1,"featured_media":2309,"parent":2319,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-2361","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nArrival in France and the Beginnings of Fame - Foujita<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/foujita.org\/en\/foujita-by-dates\/arrival-in-france-and-the-beginnings-of-fame\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Arrival in France and the Beginnings of Fame - Foujita\" \/>\n<meta property=\"og:description\" content=\"02 Back to Chapters Paris, the Dream Becomes Reality 1913 Settled at the H\u00f4tel Odessa, the painter Manuel Ortiz de Zarate took him to Picasso’s studio the next day. Within a few days, this visit brought him into the heart of the avant-garde. 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