保罗·塞萨尔.埃勒Paul Cesar Helleu（1859年12月17日——1927年3月23日），法国画家。
保罗·塞萨尔·HELLEU出生在瓦纳，布列塔尼，法国。他的父亲，谁是海关检查员，当HELLEU在他十几岁死亡。尽管他守寡的母亲反对，他然后去巴黎，就读于公立中学Chaptal。1876年，16岁的他考入巴黎高等美术学院，开始在艺术学术训练让-莱昂杰罗姆。HELLEU参加第二届印象派同年展，并与他的第一个熟人约翰·萨金特，詹姆斯·麦克尼尔惠斯勒和莫奈。他被他们的现代，大胆的袭击阿拉表面技术及户外场景，至今从工作室中删除。为了生存毕业后，HELLEU了工作与企业西奥多甲板 CERAMIQUE法语手工绘画精品装饰板。在这同时，他遇到了乔瓦尼·波尔蒂尼，肖像画家有一个浅显的，炫耀的表现风格，谁成为导师和战友，并强烈影响了他今后的艺术风格。
当他18岁的时候，HELLEU建立了与约翰·萨金特，四年他的前辈了深厚的友谊，这是持续他的一生。已经开始成为建立，萨金特获得佣金为他的工作。HELLEU不出售任何东西，而且几乎被深深失望地放弃了他的研究点。当萨金特听到这句话，他去HELLEU，拿起他的画作之一，称赞他的技术。受宠若惊，萨金特会称赞他的工作，他主动把它交给了他。萨金特说：“我将欣然接受这一点，HELLEU，但不能作为礼物。我卖我自己的照片，我知道他们由他们是从我手里的时候花了我。如果我就没我不应该享受这柔和'吨付钱给你一个公平和诚实的代价。“ 有了这个，他付给他一千法郎的钞票。
HELLEU委托于1884年，画了一个名为爱丽丝卡介苗（1870-1933）年轻女子的肖像。他们1886年七月相恋，并娶了两年后，于28纵观他们的生活在一起，她是他最喜爱的模型。迷人，精致，优雅，她帮他们介绍到巴黎，他们在那里流行的灯具的贵族圈子。
在前往伦敦与雅克-埃米尔布兰奇于1885年，HELLEU又见面了惠斯勒，并参观了同龄的其他著名艺术家。他介绍了詹姆斯·雅克·天梭，来自法国一个多才多艺的画家的社会谁制造在英国他的职业生涯，被证明是一个启示。从天梭，HELLEU看到，对于第一次，的可能性干刻用金刚石点蚀刻触笔直接在铜板。HELLEU迅速成为了技术的大师，与他的手写笔相同的动态和复杂的自由，他的粉彩画。他的版画很受欢迎，他们有一个保姆能有印，送给关系或朋友一些证据额外的优势。在他的职业生涯中，生产HELLEU 2000多个铜版画印刷品。
不久，HELLEU在几家画廊展示作品太多好评。德加鼓励HELLEU在1街拉菲特，这与官方沙龙同期执行提交画作第八届印象派展览在五月和六月1886节目被安装在巴黎的寓所当年发言。虽然17位艺术家参加了展览出名，其中包括第一理学印象派作品，HELLEU，像莫奈，拒绝参加。
1886年，HELLEU结识罗伯特·Montesquiou，诗人和唯美主义者，谁买他的铜版画六添加到他的大字收藏。Montesquiou后来写了一本书HELLEU这是发表在1913年与他的版画和素描的100复制品。本卷仍然HELLEU的权威传记。Montesquiou介绍HELLEU到巴黎的文学沙龙，在那里他遇到了普鲁斯特，谁也成为了朋友。普鲁斯特在他的小说创造HELLEU的文学画面追忆似水年华作为画家Elstir。（后来，HELLEU是雕刻普鲁斯特的著名肖像在他的临终。）Montesquiou的表妹，伯爵夫人Greffulhe，使HELLEU成功地拓展他的事业作为肖像画家，以优雅的女性在巴黎社会的最高行列，为此，他现在最知名的。他值得一提的科目包括马尔伯勒公爵夫人的Marchesa的卡萨蒂，百丽达科斯塔·格林，路易丝Chéruit和赫莲娜。
寻找新的灵感，HELLEU开始了一系列的绘画和彩色打印的大教堂和彩色玻璃窗户在1893年，其次是花的研究和景观在公园的凡尔赛宫。HELLEU拿起帆船，拥有了他的使用寿命四游艇。船舶，海港景色，生活在港口多维尔，以及妇女在海边的时尚装束，成为许多生动而活泼的作品主题。
1904年，HELLEU被授予荣誉军团勋章，成为最有名的艺术家之一爱德华七世时代在巴黎和伦敦两个。他是重要的美术团体，包括画家，雕塑家和雕刻师国际协会，为首一名名誉成员奥古斯特罗丹和法国兴业国立美术学院。
在他第二次去美国于1912年，HELLEU被授予设计在纽约市的天花板装饰委员会中央车站。他决定通过的满天星斗迹象涵盖了蓝绿色夜空的壁画生肖是穿越银河系。虽然占星术的设计被广泛推崇，天花板上布满20世纪30年代。超过60年后，于1998年，它被完全恢复，数以百万计的观众站和乘客仍处于HELLEU的天花板壁画今天唏嘘不已。
HELLEU做了他的最后一次旅行到纽约市在1920年，他的作品展，但他意识到，美好时代已经结束了。他觉得脱节，不久他回到法国后，他摧毁了几乎所有他的铜板，退休家庭生活。虽然规划一个新的展览与让-路易·FORAIN，他死于腹膜炎手术后在巴黎，1927年在67岁。
在众多的HELLEU的朋友是可可·香奈儿，在砂的艺术家颜色的建议在沙滩上捡到谁米色作为她的标志性颜色比亚里茨清晨。他的两个儿子吉恩HELLEU和他的孙子雅克HELLEU成为艺术总监的香水香奈儿。
Paul César Helleu was born in Vannes, Brittany, France. His father, who was a customs inspector, died when Helleu was in his teens. Despite opposition from his widowed mother, he then went to Paris and studied at Lycée Chaptal. In 1876, at age 16, he was admitted to the École des Beaux-Arts, beginning academic training in art with Jean-Léon Gérôme. Helleu attended the Second ImpressionistExhibition in the same year, and made his first acquaintances with John Singer Sargent, James McNeill Whistler, and Claude Monet. He was struck by their modern, bold alla prima technique and outdoor scenes, so far removed from the studio. To survive following graduation, Helleu took a job with the firm Théodore Deck Ceramique Française hand-painting fine decorative plates. At this same time, he met Giovanni Boldini, a portrait painter with a facile, bravura style, who became a mentor and comrade, and strongly influenced his future artistic style.
When he was 18 years old, Helleu established a close friendship with John Singer Sargent, four years his senior, that was to last his lifetime. Already becoming established, Sargent was receiving commissions for his work. Helleu had not sold anything, and was deeply discouraged almost to the point of abandoning his studies. When Sargent heard this, he went to Helleu and picked one of his paintings, praising his technique. Flattered that Sargent would praise his work, he offered to give it to him. Sargent replied, "I shall gladly accept this, Helleu, but not as a gift. I sell my own pictures, and I know what they cost me by the time they are out of my hand. I should never enjoy this pastel if I hadn't paid you a fair and honest price for it." With this he paid him a thousand-franc note.
Helleu was commissioned in 1884 to paint a portrait of a young woman named Alice Guérin (1870–1933). They fell in love, and married two years later, on 28 July 1886. Throughout their lives together, she was his favourite model. Charming, refined and graceful, she helped introduce them to the aristocratic circles of Paris, where they were popular fixtures.
On a trip to London with Jacques-Émile Blanche in 1885, Helleu met Whistler again and visited other prominent artists of the age. His introduction to James Jacques Tissot, an accomplished society painter from France who made his career in England, proved to be a revelation. From Tissot, Helleu saw, for the first time, the possibilities of drypoint etching with a diamond point stylus directly on a copper plate. Helleu quickly became a virtuoso of the technique, drawing with the same dynamic and sophisticated freedom with his stylus as with his pastels. His prints were very well received, and they had the added advantage that a sitter could have several proofs printed to give to relations or to friends. Over the course of his career, Helleu produced more than 2,000 drypoint prints.
Soon, Helleu was displaying works to much acclaim at several galleries. Degas encouraged Helleu to submit paintings to the Eighth Impressionist Exhibition in May and June 1886. The show was installed in a Paris apartment at 1 rue Laffitte, which ran concurrently with the official Salon that year to make a statement. Although 17 artists joined the famous exhibit that included the first Neo-Impressionistic works, Helleu, likeMonet, refused to participate.
In 1886, Helleu befriended Robert de Montesquiou, the poet and aesthete, who bought six of his drypoints to add to his large print collection. Montesquiou later wrote a book about Helleu that was published in 1913 with reproductions of 100 of his prints and drawings. This volume remains the definitive biography on Helleu. Montesquiou introduced Helleu to Parisian literary salons, where he met Marcel Proust, who also became a friend. Proust created a literary picture of Helleu in his novel Remembrance of Things Pastas the painter Elstir. (Later, Helleu was to engrave a well-known portrait of Proust on his deathbed.) Montesquiou's cousin, the Countess Greffulhe, enabled Helleu to successfully expand his career as aportrait artist to elegant women in the highest ranks of Paris society, for which he is now most renowned. His noteworthy subjects include the Duchess of Marlborough, the Marchesa Casati, Belle da Costa Greene, Louise Chéruit, and Helena Rubinstein.
Looking for new inspiration, Helleu began a series of paintings and color prints of cathedrals andstained glass windows in 1893, followed by flower studies and landscapes of parks in Versailles. Helleu took up sailing, owning four yachts over his life. Ships, harbor views, life at port in Deauville, and women in their fashionable seaside attire, became subjects for many vivid and spirited works.
In 1904, Helleu was awarded the Légion d'honneur and became one of the most celebrated artists of the Edwardian era in both Paris and London. He was an honorary member in important beaux-arts societies, including the International Society of Painters, Sculptors, and Engravers, headed by Auguste Rodin, and the Société Nationale des Beaux-Arts.
On his second trip to the United States in 1912, Helleu was awarded the commission to design was the ceiling decoration in New York City'sGrand Central Terminal. He decided on a mural of a blue-green night sky covered by the starry signs of the zodiac that cross the Milky Way. Although the astrological design was widely admired, the ceiling was covered in the 1930s. More than sixty years later, in 1998, it was completely restored and millions of visitors and passengers at the station still marvel at Helleu's ceiling mural today.
Helleu made his last trip to New York City in 1920 for an exhibition of his work, but he realized that the Belle Époque was over. He felt out of touch, and shortly after his return to France, he destroyed nearly all of his copper plates, retiring to family life. While planning for a new exhibition with Jean-Louis Forain, he died of peritonitis following surgery in Paris, in 1927 at age 67.
Among many of Helleu's friends was Coco Chanel, who picked beige as her signature colour upon the advice of the artist—the colour of the sand on the beach of Biarritz in the early morning. Both his son Jean Helleu and his grandson Jacques Helleu became artistic directors for Parfums Chanel.
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