Misia Sert: The Woman Behind The Many Artists Of Turn-Of-The-Century Paris

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Portrait of Misia Sert by unknown photographer; Pierre-Auguste Renoir, 1904

Recently we were introduced to Misia Sert by a romantic Vogue Germany editorial featuring Codie Young photographed by Giampaolo Sgura. Intrigued, we were determined to find pictures of her, as well as learn more about the exciting bohemian life she led. Clive James wrote a detailed essay on her, describing her as someone who “knew just about everybody who counted in artistic Paris.”:
Her taste was original, penetrating and in most cases definitive. Without directly creating anything, she was some kind of artist herself… For most of her life she was too rich to be a true bohemian, and too passionate about art to be a true representative of high society. Instead, she was, for her time, the incarnation of that special energy released when talent and privilege meet.
Although I don’t agree that being artistic and being rich are strictly mutually exclusive, I understand what he meant. Much creative work is borne out of pain and struggle, and while the rich aren’t immune to sorrow, the starving artists have the additional pressure of destitution to grapple with. This doesn’t mean that rich people can’t be truly artistic— it just means that they have so many more pleasurable distractions within reach. Misia Sert certainly had plenty of those— the parties she hosted were legendary, and she was well-off enough to house her artist friends in country villas. I think it’s wonderful that she supported and nourished the creative community around her, giving these important artists resources and opportunities to further their work.

Misia Natanson en Robe Noire circa 1896-97 by unknown photographer, Archives Vuillard, Paris; Henri Toulouse-Lautrec, 1895

La Revue Blanche was an art and literary publication during the period of aesthetes and decadents at the turn of the century, and its pages featured the most prominent creatives. Misia Sert graced its cover more than once, and Clive James wrote of the key role she played at the magazine:

Being published in the Revue Blanche was like getting into a party: you had to know Misia. But this condition was only mildly pernicious, because you had to be gifted before Misia wanted to know you.

Madame Misian Nathanson by Henri de Toulouse-Lautrec, 1897

Modern and timeless, imperious and vulnerable, vivacious and enigmatic, but more charismatic than beautiful, she was one of the most prolifically painted women of her time.

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