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Louis Henri Jean Charlot (February 8, 1898 – March 20, 1979) was a French and naturalized American painter and illustrator, active mainly in Mexico and the United States. ==Life== Charlot was born in Paris. His father, Henri, owned an import-export business and was a Russian-born émigré, albeit one who supported the Bolshevik cause. His mother Anna was herself an artist. His mother's family originated from Mexico City, his grandfather a French-Indian ''mestizo''.〔(【引用サイトリンク】url=http://www.askart.com/askart/c/jean_charlot/jean_charlot.aspx )〕 His great grandfather had immigrated to Mexico in the 1820s shortly after the country's independence from Spain and married a woman who was half Aztec. This was likely the source of a myth which developed around Charlot casting him as a descendant of Aztec royalty.〔Vogel, Susan, "Becoming Pablo O'Higgins", pp. 61, 72. Prince-Nez Press. San Francisco/Salt Lake City, 2010, ISBN 978-1-930074-21-7.〕 From an early age Charlot was fascinated with the Mexican manuscripts and art in the collection of his Great Uncle Eugene, and by the pre-Columbian artefacts of a neighbor and family friend, Désiré Charnay, who was a well-known archaeologist. As a teenager he began learning the Aztec language, Nahuatl. He studied art in Paris before serving in the French Army during the Great War. In 1920, his scale drawings for the mural decorations of a church were included in an exhibition of religious art at the Louvre.〔McVicker, Donald, ''The Painter-Turned-Archaeologist: Jean Charlot at Chichen Itza'' University of Hawai'i at Manoa Library; http://library.manoa.hawaii.edu/departments/charlotcoll/J_Charlot/charlotmcvicker.php retvd 8 15 15〕〔Vogel, Susan, op. cit., pp. 61, 65.〕 Charlot spent an extensive period of his life living and working in Mexico. In 1921, after his father died, he and his mother left Europe to settle in Mexico City. He met Fernando Leal (1896–1964) and shared his studio with him. Charlot was deemed "a fine person who is doing important work" by Diego Rivera, the renowned Mexican painter and muralist. Rivera introduced Charlot to other young artists, such as Pablo O'Higgins (born Paul Stevenson Higgins and who came to live in Mexico in 1924, having grown up in Salt Lake City, Utah).〔Vogel, Susan, op.cit., pp. 48, 64.〕 O'Higgins would later recall that he met Charlot at the former's studio, when he was painting a nude of Luz Jimenez, a very beautiful Mexican Indian woman model to Diego Rivera. Luz's native language was nahuatl, which she taught to Charlot as she posed for him. Charlot and O'Higgins shared an interest in learning about Mexico and traveled together exploring the country, sometimes with Anita Brenner, a Jewish 19-year-old at that time with whom Charlot seemed in love and collaborated in several literary and illustration projects.〔Vogel, Susan, op.cit., p. 65.〕 Charlot married a close friend of O'Higgins, Dorothy Day, an artist who had also grown up in Salt Lake City. Her family was Mormon but later left the church. Her dark skin and brown eyes had long left her feeling uncomfortable in blond, blue-eyed Salt Lake society; she recalled that one day some American Indians came to her door and she saw people who looked like herself for the first time, and connected with them. At age twenty, Dorothy had changed her name to Zohmah and traveled to Mexico. She got involved in the Mexican art movement of the 1920s and 30s, and became close friends with young Mexican and American artists, such as Charlot and O'Higgins, in the circle of Mexican muralist Diego Rivera.〔 Charlot and O'Higgins had a long-lasting friendship, sharing their interest on each other's work even after Charlot went with his mother to live in New York in 1928. When in Mexico City, Charlot would stay in a humble room Pablo rented in downtown Mexico City on the roof of a dilapidated building on the street of Belisario Dominguez. In December 1930, to prepare for his solo exhibit in early 1931 at the John Levy Gallery in New York, O'Higgins lived with Charlot for six months in his small unheated apartment on Union Square and 14th Street, near the Art Students League, where Charlot was reaching. At the same time, mid-January 1931, a few blocks away, José Clemente Orozco was painting murals for The New School at 66 West 12th Street.〔(【引用サイトリンク】url=http://www.newschool.edu/leadership/provost/artcollection/new-school-murals/ )〕 Charlot and Orozco had maintained frequent correspondence in previous years. Both commented on each other's murals in Hawaii in 1952.〔Vogel, Susan, op.cit., pp. 49, 94.〕 In 1940, Charlot applied for and was accorded American citizenship. A dual citizen of the United States and France, he retained passports from both countries. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Jean Charlot」の詳細全文を読む スポンサード リンク
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