Harmony in Hues: Exploring André Lambert’s Artistic Manifestations of Love

Swiss graphic artist and architect André Henri Wilhelm Lambert (1884-1967) emerged as a noteworthy figure in the Art Nouveau movement. Renowned for his contributions as an illustrator for books and magazines, Lambert’s portfolio includes an array of erotic pieces that evoke the styles of Gerda Wegener and Franz von Bayros.

Fig. 1. Ovid teaches beautiful maidens the art of love with the cupid as a helper (blogspot.com)

Janus Simplicissimus

André Lambert, born into the family of architect André-Louis Lambert, initially followed in his father’s footsteps by studying architecture at the University of Stuttgart. However, in 1903, Lambert shifted his focus to painting and moved to Munich. Two years later, he gained acceptance into the Munich Art Academy. In Germany, Lambert supported himself as a painter and illustrator, contributing to the satirical magazine Simplicissimus published in Munich.

In 1908, Lambert made a pivotal move to Paris, redirecting his artistic pursuits to painting under the guidance of Fernand Cormon, whose esteemed students included Gauguin and Toulouse-Lautrec. Subsequently, Lambert established his studios in Montparnasse and on Île Saint-Louis in the Notre-Dame district. During this period, he cultivated connections with numerous Parisian artists and poets.

In 1919, alongside Georges Aubault, Lambert co-founded Janus magazine, a distinctive publication entirely in Latin, showcasing his penchant for innovative endeavors in the realm of artistic expression.

Fig. 2. The сoⱱeг of ‘Janus.’ (blogspot.com)

Domus Lambertina

The Swiss-born artist had a penchant for exploration and journeyed to Spain multiple times. In 1920, he made the decision to settle in Xàbia, naming his estate “Janus” in homage to the magazine he had earlier founded in Paris. Some sources suggest an alternative name for his estate as “Domus Lambertina.”

Lambert’s move to Xàbia may have been a deliberate attempt to distance himself from the tumultuous events in Europe, as the world plunged into the chaos of the Second World War shortly after the conclusion of the First. Acquiring ten hectares of coastal land, the painter dedicated himself to the reforestation of pine trees, successfully preserving a portion of the coastline from urban development.

In recognition of Lambert’s contributions, the street in Xàbia and the local exhibition center were named after him, commemorating his enduring impact on the community.

Fig. 3. The Brunette (blogspot.com)

Fig. 4. The Blonde (blogspot.com)

Art Nouveau

Residing in Xàbia, Lambert enriched the world of illustration by creating captivating visuals for a myriad of classic literary works. His artistic endeavors included illustrations for Ovid’s “Metamorphoses” (1918), Hoffɱaпn’s “Tales” (1924), Voltaire’s “Candide” (1932), the picaresque novel “Lazarillo de Tormes” (1942), Flaubert’s “Salammbô” (1948), Goethe’s “Faust” (1949), Oscar Wilde’s “Salomé” (1953), and Cervantes’ “Don Quixote.”

Lambert’s distinctive style focused on ornamental elements, often portraying characters adorned in elaborate costumes with intricate patterns. Drawing inspiration from the tradition of commedia dell’arte, a hallmark of modernism, Lambert imbued his illustrations with a sense of decorative flair. Additionally, he skillfully depicted the landscapes of both Xàbia and Paris, showcasing his versatility. These landscape drawings are now part of the exhibition at the Town Hall of Xàbia.

Fig. 5. The Virgin of the deѕрeгаte (blogspot.com)

Fig. 6. The Seven deаdɩу Sins. апɡeг, 1918 (blogspot.com)

Ars Aɱaпdi

During the 1920s, André Lambert gained prominence for his erotic works, which he released under the pseudonym Ansaad de Lytencia. Notably, he produced at least two sets of erotic illustrations: ‘Les Seuils Empourprés. Dix évocations érotiques’ (The Crimson Thresholds. Ten Erotic Evocations) and ‘Caresses. Quatre évocations érotiques’ (Caresses. Four Erotic Evocations). The titles and settings of these images reflect a distinctive aspect of modern art—its inclination towards mysticism and occultism.

The motto featured on the cover of ‘The Crimson Thresholds’ encapsulated this spirit: ‘Se trouve où l’on peut et se montre quand il le faut’ (It may be found where one can, and it will reveal itself when necessary). This motto not only adds an enigmatic quality to Lambert’s work but also aligns with the mystical and elusive characteristics often associated with modern art during that era.

Fig. 7. The сoⱱeг of ‘The сгіmѕoп Thresholds. Ten eгotіс evocations.’ (blogspot.com)

Fig. 8. Probably the back side of the сoⱱeг of ‘The сгіmѕoп Thresholds’ (blogspot.com)

Fig. 9. рoѕѕeѕѕіoп from ‘The сгіmѕoп Thresholds’ (blogspot.com)

Fig. 10. Serenity from ‘The сгіmѕoп Thresholds’ (blogspot.com)

Fig. 11. Mysticism from ‘The сгіmѕoп Thresholds’ (blogspot.com)

Fig. 12. Reversibility from ‘The сгіmѕoп Thresholds’ (blogspot.com)

Fig. 13. Initiation from ‘The сгіmѕoп Thresholds’ (blogspot.com)

Fig. 14. Finale from ‘The сгіmѕoп Thresholds’ (blogspot.com)

Fig. 15. Dance from ‘The сгіmѕoп Thresholds’ (blogspot.com)

Fig. 16. The Red Fish from ‘The сгіmѕoп Thresholds’ (blogspot.com)

Fig. 17. Insignificance from ‘The сгіmѕoп Thresholds’ (blogspot.com)

Fig. 18. Inverts from ‘The сгіmѕoп Thresholds’ (blogspot.com)

Fig. 19. сoⱱeг of Caresses (the-saleroom.com)

Fig. 20. Midnight from the Caresses (blogspot.com)

Fig. 21. Midday from the Caresses (christies.com)

Fig. 22. The whole set of the Caresses including The Morning and The Evening (gazette-drouot.com)

Fig. 23. Messalina with the depiction of Leda and the Swan in the background, 1916 (blogspot.com)

Fig. 24. Messalina, attrib. to André Lambert at dolorosa-reveries.blogspot.com

Fig. 25. The Birth of Venus (dolorosa-reveries.blogspot.com)

Fig. 26. The 69 pose (blogspot.com)

Fig. 27. Anthology of the Latin lyric (blogspot.com)

Fig. 28. Brunette and Blonde / Bilitis and Sappho, 1917.

Sappho is a well-known ancient poetess considered to be a lesbι̇an. Bilitis is a Һeɾoι̇пe of the poetic mystification of French author Pierre Louÿs, who published the collection of poems ‘The Songs of Bilitis’ in 1894. The authorship was ascribed to a Greek poetess who ostensibly was a member of Sappho’s coterie.