Raymond Delamarre (1890–1986) was a French sculptor and medalist. He played a major role in the Art Déco movement. While his ecclesiastical work showed the influence of Catholicism, he was personally agnostic. His art, especially his war memorials, was also influenced by his firsthand experiences of the horrors of the First World War.
Biography When aged sixteen years, Delamarre joined the École des Beaux-Arts in Paris and was attached to the studio of Jules-Félix Coutan. His studies were interrupted, firstly by his conscription into the army from 1911 to 1913 and then service from 1914 to 1918 after the French mobilization, although between the two he managed some further time back in Coutan's studio. Soon after mobilization Delamarre was sent to the front and was almost immediately taken prisoner. He was released in the course of an exchange of prisoners carried out in 1916 and returned to active service.
On leaving the army at the end of the war, Delamarre now tried to secure the "Prix de Rome" and with the bas-relief "Le retour du guerrier au foyer familial" he shared the prize with Alfred Janniot which meant he was able to spend four years in Rome at the Villa Médicis. He was to stay in Rome until 1924, grew a moustache and visited and studied the sculpture of Greece. The composition "Suzanne au bain" exhibited in 1922 at the Salon des Artistes Français is a good illustration of Delamarre's work at this time.
In 1925 and in collaboration with the architect Michel Roux Spitz, he took part in the competition to secure the work on the proposed "Monument à la Défense du canal de Suez" to be erected in Ismaîlia, a work of huge proportions and a most prestigious project. Also working with Roux-Spitz, he exhibited a sculptural composition for a water fountain at the Exposition des Arts Décoratifs in Paris, the bas-reliefs "Nessus et Dejanire" and "Persée et Andromède" cast in bronze in 1935, two tympani for the decorator Paul Follot, a bronze entitled "David" and a work in plaster entitled "Femme au bélier". Between 1926 and 1927, Delamarre worked on the "Mowgli" ronde-bosse. He also executed a bas-relief of Mowgli in plaster measuring 2 metres by 2 metres.
In 1927, Delamarre married Mariel Jean-Brunhes, the daughter of the geographer Jean Brunhes and they made visits to Spain and the Balearics. In 1928, he produced the group "Adam et Eve" or "La tentation" in bronze, which composition was to appear subsequently in various limited editions, in both bronze and plaster. In 1931, he participated in the Exposition Coloniale de Paris, creating the figure of Christ carved from acajou wood from Cuba and eight Beatitudes. 1935 saw completion of his work for the ocean liner "Normandie" and 1937 he completed his great work in bronze for the Palais de Chaillot with three 4-metre-high figures being created symbolizing Philosophy, the Visual Arts and the Arts. These figures were erected after the 1939–40 war. These three figures were to reappear in a number of limited editions in both plaster and bronze and in a variety of sizes. From 1961 to 1973, he managed the business of the "Art Sacré" studios in Paris' place de Furstenberg, working with Maurice Denis and Georges Desvallières.
In 1963 Delamarre created the last of his great "monumental" works, executing 12 reliefs in stone for the entrance of the chapel of Nantes's new hospital, a building designed by Michel Roux Spitz, after which he worked on a number of busts, statues, medals and plaque until his death on 28 February 1986. His output both in medals and sculptures was huge. This article will concentrate on sculpture although a second article, just on Delamarre's medals would be both justified and welcome.
Decorations Chevalier of the Legion of Honour (1936)
Prix de Rome winning entry "La Gloire ramène le Héros au foyer familial" This bas-relief in plaster was the work which won Delamarre the Prix de Rome in 1919. It is held by the École nationale supérieure des Beaux-Arts in Paris amongst their collection of former pupils work. Because of the 1914–18 war, the Prix de Rome prizes awarded in 1919 were shared, Delamarre sharing his prize with Alfred Janniot
Works executed whilst studying in Rome at the Villa Médicis and sent to Paris. 1920–24
Whilst in Rome Delamarre executed several works including those listed below.
The sculpture entitled "Suzanne" This was the first work sent to Paris by Delamarre from Rome. When the Villa Médicis reopened after the war their finances were in a poor state and in 1920 they were not able to organize the traditional exhibition, which showed works completed by students and deemed suitable to be sent to Paris. That academic year, Delamarre had prepared a female nude study in plaster but this was not shown until an exhibition was organized in Rome for the year 1921, by which time the Villa had started to get back to normal. It was then shown in Paris in the September of that year. In 1926 a Carrara marble version was accepted by the Petit Palais des Champs-Elysées. In 1960 it was moved to the Musée d’art moderne in Paris.
Victory monument- "monument à la Victoire" A work with Roux-Spitz carried out in 1921/1922 and of huge proportions being 30 metres high. Its size in fact presented problems to the administrators of Villa Médicis and there were logistical problems in carrying it by train to Paris. The whereabouts of the work is not currently known but there is at least a photograph in circulation of Delamarre's maquette. The work won Michel Roux-Spitz the 1920 Prix de Rome for architecture.
4th Station of the Cross This was Delamarre's third despatch of a work from Rome to Paris and involved a composition for the 4th station of the Stations of the Cross ("chemin de croix") that showing Jesus meeting His Mother. The composition was shown in Rome on 22 June 1923 and sent to Paris on 21 August 1923 and shown at that autumn's Paris Salon exhibition in the section dedicated to "Art religieux".
A study of "David" A copy of this Delamarre work stands in Charleville-Mézières's Stade du "Petit Bois". This final Rome linked composition is dated to 1923/1924 when Delamarre was finishing his time at Villa Medicis. The work is known as "Jeune Frondeur" or simply "David". The piece was first executed in plaster and shown at Rome's annual exhibition on 21 May 1924 and then sent to Paris to be finally shown at the Salon des artistes français in 1925, but by this time in bronze with a gold patina. It was purchased by the French state who placed it in the Charleville-Mézières hôtel de ville before it was moved to the “Petit Bois” in 1929. A limited edition was subsequently produced by the Fonderie d'Art de Coubertin, the composition being reduced in size from 2.10 metres to 0.60 centimetres. Fonderie d'Art de Coubertin also produced a bronze of David's head alone, the "Tête de David", this based on an original work in plaster taken from Delamarre's studio.
Reliefs
Several architects commissioned Delamarre to create reliefs for buildings they were designing. Some of these are listed below.
Relief on the façade of Grand-Couronne's mairie Delamarre executed this large bas-relief between 1954 and 1955. The composition included both depictions of the port of Rouen and reminders of the Vikings and William the Conqueror. The Delamarre family made a gift to the Musée Elbeuf of various artifacts which are held in the museum's "Fabrique des savoirs" including Delamarre's studies for the Grand-Couronne work.
Bas-relief for Paris' 14th arrondissement mairie In 1934 Delamarre participated in the decoration of the annex built for the mairie of Paris' 14th arrondissement and executed several reliefs. One relief was entitled "La Pensée" and had been shown at the 1934 "Salon des artistes décorateurs". Another of the reliefs is entitled "L'Action". In 2011, the street changed its name to Rue Pierre-Castagnou.
The 1956 relief in the Archives départementales du Cantal in Aurillac Delamarre completed a relief for the entrance to the Cantal archive's premises in 1956. The relief depicted the history of archives from the Middle Ages to the "Empire".
The bas-relief "La Justice" This bas-relief in stone was created in 1946 for the Ministry of Justice building in Paris' rue Cambon, a building designed by the architect Paul Tournon.
The 1954 relief on Louviers' Hôtel de Poste The post office building was rebuilt after the war to the design of the architect Pierre Chirol and Delamarre was commissioned to create a 13-metre-high relief. The relief was entitled "Iris la Messagère". In Greek mythology, Iris is the personification of the rainbow and messenger of the gods. In Delamarre's composition, Iris is shown with three carrier pigeons. She is writing a letter.
"La Famille"-a bas-relief at 34 rue Chomel The architect Emile Boursier commissioned Delamarre to execute a relief for this art déco style building in Paris' rue Chomel, which contained the offices of the Compagnie anonyme française d’assurances who traded under the name ‘La Populaire". The composition "La Famille" was the result with a proud father holding up a winged baby and showing it to the mother with a young girl looking on. A scene of family bliss.
"Pour que l’homme ne soit pas victime des forces qu’il a déchaînées" Brest Lycée de Kerichen This work was intended for Brest's Lycée de Kérichen designed by Jean-Baptiste Mathon. It was in 1962 that Mathon commissioned Delamarre to create sculptural decoration for the "Centre des Chèques Postaux" in Dijon and the Brest Lycée de Kerichen. Delamarre's composition "Pour que l’homme ne soit pas victime des forces qu’il a déchaînées" is based on the story of Prometheus. The Lycée de Kerichen moved Delamarre's work in a major renovation of the school and the work's present whereabouts are not known.
Three reliefs for the Salon des artistes décorateurs In 1926 and working with Roux-Spitz, Delamarre created three reliefs for a display in the 1926 Salon. They were entitled "Intelligence", "Mouvement" and "Harmonie". The present whereabouts of these reliefs is not known and it is possible they were destroyed when the display was dismantled.
"Aviation". A bas-relief for the Air Ministry This work had been shown at the 1926 Salon des artistes décorateurs and was erected in the Air Ministry in 1930. A medal with the same composition was struck by the Monnaie de Paris and both the medal and the bas-relief carried the words "AD EXCELSA PER EXCELSUM". The present whereabouts of this work is unknown.
Relief in the roserie of the Château de Bourbon-Conti This relief can be seen near a fountain in the château's gardens.
Works linked to International Trade Fairs The major international fairs of 1925, 1931, 1935 and 1937 gave opportunities for Delamarre to show his work to a wider audience.
The 1925 International Exhibition of "arts décoratifs et industriels modernes"