After brilliant studies at the Lycée Condorcet, Maurice Denis enrolled at the Académie in 1888.
Julian in order to prepare the entrance exam for the Beaux-Arts – where he won’t be staying. The artistic context is actually much more stimulating for Julian. He joins the small group formed by Paul Sérusier, Pierre Bonnard, Edouard Vuillard, Félix Vallotton and Paul Ranson.
Sérusier spent the summer with Gauguin in Pont-Aven, and on his return to Paris, he spread the master’s ideas to his friends. The Nabi group was born. Nearly two years later, on August 23 and 30, 1890, Denis published a kind of manifesto, La Définition du néo-traditionnisme, in which the oft-cited definition “To remember that a painting, before being a horse, a naked woman or any kind of anecdote, is essentially a flat surface covered with colours in a certain order assembled” is found. Nevertheless, Maurice Denis has never ceased to immerse himself in the tradition and art of the ancients. He has a particular admiration for the Italian Primitives – especially Fra Angelico, the Ingrists, but also Puvis de Chavannes and Cézanne. For Denis, tradition, far from being a weight, is a real promise.
The revival of tradition is, in fact, a real alternative to the modernity of the “avant-gardes”. This modern artist has become a must in the history of art. His works are today in the greatest museums; and can also be found at auctions, where they are very popular.
