Villon, Jacques, pseud. for Gaston Duchamp(French, 1875-1963)
In an act of homage to the poet Francoise Villon, and in an attempt to forge a separate artistic identity from that of his famed younger brother Marcel Duchamp, the artist originally named Gaston Duchamp took the pseudonym Jacques Villon. Along with cohort Manuel Robbe, Jacques Villon was one of the central figures in the “Peintres-Graveurs”—“Painters-Printmakers” or “Painters-Engravers.”
Villon helped cultivate and promote community with fellow artists; in 1903 he aided in establishing the drawing section of the inaugural Salon d’Automne, and in 1911, along with Raymond and Marcel Duchamp, founded the Puteaux Group, originally a discussion group with such artists and critics as Fernand Leger, Francis Pacabia and Robert Delaunay. In 1912, Villon was influential in promoting the Puteaux Group, which, under the collective name “Section d’Or,” exhibited in the La Botie Gallery. His artistic community was deeply rooted in Montmartre and the Latin Quarter in Paris.
The paintings Grutzner is best known for combine detailed academic rendering with humorous and anecdotal subject matter, often depicting monks drinking. He died in Munich in 1925. Grutzner was one of Hitler's favorite painters, Albert Speer quoting him as saying of one of the artist's works that he was "greatly underrated... Believe me, this Grutzner will someday be worth as much as a Rembrandt. Rembrandt himself couldn't have painted that better."
Villon’s career, with its initial foray into the narrative/pictorial modes of magazine and poster advertisement, transitioned from the portrayal of high society women to cubist studies of form itself. In 1913, Villon contributed seven cubist works to the profoundly influential Armory Show in New York; his work found resonance and popularity with American audiences. His honors include the Carnegie Prize and the Grand Prix at the Venice Biennale exhibition.
Works Cited:
Weisberg, Gabriel P. Images of Women: Printmakers in France. Salt Lake City: Utah Museum of Fine Art, 1978, pp. 109-110.

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