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Chaïm Soutine (1893-1943) . Arbre couché [Lying tree] (ca. 1923-1924). In the Walter-Guillaume Collection at Musée de l'Orangerie, Paris.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
officiel-galeries-musees.com/musee/musee-de-l-orangerie/e... Chaïm Soutine. Le Village. Vers 1923. Huile sur toile. 73.5 x 92. RF 1963-88. Non signé. © RMN-Grand Palais (musée de l'Orangerie) / Hervé Lewandowski.
Brown appropriates images by living, working artists, such as Frank Auerbach and Georg Baselitz, as well as paintings by historical artists, such as Guido Reni, Diego Velázquez, Anthony van Dyck, Rembrandt, Jean-Honoré Fragonard, Eugène Delacroix, John Martin, Gustave Courbet, Adolph Menzel, Pierre-Auguste Renoir, Vincent van Gogh, Chaim Soutine and Salvador Dalí. He claims that the references to these artists are not direct quotations, but alterations and combinations of several works by different artists, although the artists whose work is appropriated do not always agree. As art critic Michael Bracewell states, Brown is less concerned with the art-historical status of those works he appropriates than with their ability to serve his purpose – namely his epic exploration of paint and painting. In most cases, the artist uses reproductions printed in exhibition catalogues, found on the internet or ordered through print-on-demand companies. By scanning and changing the image with programmes like Photoshop, Brown playfully alters the image to his specific needs. He distorts, stretches, pulls, turns the image upside down and changes the colour, usually based on other found images, as well as the background setting. Describing his working practice in an interview, Brown stated: I‘m rather like a Dr Frankenstein, constructing paintings out of the residue or dead parts of other artist‘s work. I hope to create a sense of strangeness by bringing together examples of the way the best historic and modern-day artists have depicted their personal sense of the world. I see their worlds from multiple or schizophrenic perspectives, through all their eyes. Their sources of inspiration suggest things I would never normally see – rocks floating in far-off galaxies, for example, or a bowl of flowers in an 18th-century room, or a child in a fancy-dress costume. It‘s those fictions that I take as subject matter. The scenes may have been relatively normal to Rembrandt or Fragonard but because of the passage of time and the difference in culture, to me they are fantastical.
w.p.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Vinyl on canvas; 90 x 175 cm.
Antonio Scialoja was born in Rome on December 16, 1914. In the late 1930s he joined the artistic and literary circles of the Galleria La Cometa. Having given up his law studies in 1937, he devoted himself entirely to painting and produced his first Expressionist paintings, in which his use of thick textural brushstrokes was clearly influenced by French painting, in particular Soutine. In 1939 he exhibited at the third Quadriennale of Rome and in 1941 had a private show at the Società Amici dell’Arte in Turin. The following year he took part in a group show at the Galleria Lo Zodiaco in Rome, along with Emilio Vedova, Giulio Turcato, and Leoncillo Leonardi. He was actively involved in the Resistance, and he worked for the theater, designing his first stage sets in 1943. At the end of the war, along with the artists Stradone, Ciarrocchi, and Sadun, he founded the group “I quattro fuori strada”. During the late 1940s he went to Paris, where he became increasingly immersed in European artistic culture; this environment strongly affected his investigation into tone and Neo-Cubism. In the 1950s Scialoja gradually broke free from Expressionism, turning to Analytical Cubism and then to abstraction. His contacts with the group Origine, who were against the decorative aspects of abstract art, together with his trip to the U.S. in 1956, where he met the protagonists of American Abstract Expressionism, pushed the artist to thoroughly explore color, texture, and gestural painting. His first Impronte date back to 1957; in these works traces of deposited color are printed from one surface onto the other, and onto diverse materials ranging from paper to canvas. Meanwhile Scialoja toock part in important national and international shows; in 1960 he moved first to New York and then from 1961 to 1963 to Paris. Back in Italy he exhibited in the 1964 Venice Biennale. His artistic production ceased for a prolonged period during the 1970s, and he only resumed painting in 1983. Scialoja was also a poet, writer, and set designer. He taught at the Academy of Fine Arts in Rome and served as its director for many years. He died in Rome on March 1, 1998.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Huile sur toile, 82 x 60 cm, 1917, NGA, Washington.
Né en 1884 dans une famille aristocratique de Livourne, en Italie, Amedeo Modigliani s'est installé dans le quartier de Montmartre à Paris en 1906 et a commencé à réaliser des peintures influencées à la fois par l'ambiance de la période bleue de Picasso et par la structure picturale de Cézanne tardif. En 1909, il rencontre Constantin Brancusi et commence à se consacrer à la sculpture ; les traits fins et les références à l'art africain dans la série de têtes de pierre de 1909-1914 reflètent clairement l'influence de Brancusi.
En tant que peintre et sculpteur, Modigliani se concentrait sur le portrait. Bien qu'il abandonne la sculpture à la fin de 1913 ou au début de 1914 pour revenir à la peinture, les longs cous et les traits atténués de ses sculptures se retrouvent dans ses portraits peints ultérieurs. Modigliani est également connu pour une série de nus langoureux, dont il expose certains en 1918 à la Galerie Berthe Weill à Paris ; l'exposition a été fermée par la police pour obscénité. Modigliani est mort d'une méningite tuberculeuse, aggravée par la drogue et l'alcool, dans un hôpital parisien en 1920.
Le onzième enfant d'un tailleur juif russe, Chaim Soutine (1894-1943), fut sauvé de la pauvreté et des mauvais traitements par un rabbin qui reconnut son talent et l'envoya dans une école d'art, d'abord à Minsk, puis à Vilna. Soutine arrive à Paris à l'âge de 17 ans en 1911-1912 et rencontre Modigliani à Montparnasse vers 1914. Ils développent une étroite amitié et Modigliani peint plusieurs fois le portrait de Soutine. La manière indisciplinée et spontanée de peindre de Soutine était étrangère à son ami italien, qui, pour décrire son propre état d'ivresse, disait un jour en plaisantant : "Tout danse autour de moi comme dans un paysage de Soutine". L'élégant Modigliani se sentait protecteur envers le grossier Soutine, de 10 ans son cadet. En 1916, Modigliani présenta son ami à son marchand, Léopold Zborowski, et le pressa de s'occuper du travail de Soutine, ce qu'il commença à faire. Peu avant la mort de Modigliani, il avait dit à Zborowski : "Ne t'inquiète pas, je te quitte Soutine".
Alors que de nombreux portraits de Modigliani sont soit stylisés et impersonnels, avec des yeux souvent laissés vides, soit presque caricaturaux, ce tableau semble à la fois particulier et sympathique. Soutine est assis avec les cheveux ébouriffés et les vêtements mal assortis, les mains maladroitement placées sur ses genoux, le nez écarté sur le visage alors qu'il regarde hors du cadre. Les yeux mi-clos, l'un légèrement plus haut que l'autre, pourraient suggérer le désespoir et le désespoir de Soutine, attitudes auxquelles Modigliani pourrait s'identifier en tant qu'artiste pauvre à Paris. Le traitement de Soutine par Modigliani peut également refléter la place particulière que Soutine avait gagnée dans l'affection de l'artiste plus âgé (cf. NGA).
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Huile sur toile, 63 x 50 cm, 1927-1928, musée de l'Orangerie, Paris.
Entre 1925 et 1930, Soutine peint la série des enfants de chœur tantôt assis, tantôt debout et en pied. Cette série est contemporaine de celle des bœufs écorchés et c’est encore et toujours la fascination pour les rouges qui s’exprime. Le peintre fréquentait régulièrement le Louvre où il admirait particulièrement les tableaux de Gustave Courbet (1819-1877), Rembrandt (1606-1669) et Jean-Baptiste Camille Corot (1796-1875). C’est peut-être L’enterrement à Ornans de Courbet, avec son cortège d’enfants de chœur en robe rouge et en surplis blanc, qui l'a poussé à s’y intéresser.
Le costume de ces enfants de chœur lui permettait de faire chanter ses deux couleurs favorites : les rouges incarnats et le blanc. Le modèle est présenté ici à mi-corps de trois quart sur un fond noir bleuté relativement uni qui sert d’écrin aux couleurs du costume. Les touches larges et épaisses ne sont pas sans rappeler la facture de Courbet. Par contre le blanc du surplis rehaussé de touches nerveuses de couleurs pures, jaune, vert, bleu et rouge, est typique de l'artiste (cf. Paul Guillaume et Domenica Walter, musée de l'Orangerie).
Chaim Soutine 'La cocinera (Mujer de azul)', (The Cook / Woman in Blue), ca. 1935, Museo Botero, Bogotá, Colombia
www.sothebys.com/en/auctions/ecatalogue/2015/impressionis... Chaïm Soutine
LE VALET DE CHAMBRE
Estimate 6,500,000 — 8,500,000 GBP
LOT SOLD. 10,789,000 GBP (Hammer Price with Buyer's Premium)
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IMPRESSIONIST & MODERN ART EVENING SALE
24 JUNE 2015 | 7:00 PM BST
LONDON
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Chaïm Soutine
1893 - 1943
LE VALET DE CHAMBRE
indistinctly signed Soutine (upper right)
oil on canvas
72.7 by 46cm.
28 5/8 by 18 1/8 in.
Painted circa 1927.
READ CONDITION REPORT
SALEROOM NOTICE
PROVENANCE
Pierre Loeb, Paris
Mr & Mrs Bernard J. Reis, New York (acquired by 1945)
Jacques Guerin, Paris (acquired between 1945 and until 1981
Philippe Reichenbach, Geneva (acquired by 1981)
Private Collection, Switzerland (acquired from the above)
Sale: Phillips, de Pury & Luxembourg, New York, 7th May 2001, lot 37
Purchased at the above sale by the present owner
EXHIBITED
Boston, Institute of Modern Art, Soutine, 1945, no. 41
New York, The Museum of Modern Art & Cleveland, The Cleveland Museum of Art, Soutine, 1950-51, illustrated in the catalogue (as dating from 1929)
Palm Beach, The Society of the Four Arts, Soutine, 1952, no. 26
New York, Marlborough-Gerson Gallery, Inc., International Expressionism, 1968, no. 63, illustrated in the catalogue (as dating from 1929)
New York, Marlborough Fine Art Ltd., Chaim Soutine 1893-1943, 1973, no. 57, illustrated in the catalogue (as dating from circa 1928)
Montrouge, Centre Culturel et Artistique, XXXIe Salon, 1986, no. 20
Tokyo, Odakyu Museum; Nara, Nara Sogo Museum of Art; Ibaraki, Kasama Nichido Museum of Art & Hokkaido, Hokkaido Museum of Modern Art, Chaim Soutine, Centenary Exhibition, 1992-93, no. 62, illustrated in colour in the catalogue
Lugano, Museo d’Arte Moderna, Chaim Soutine, 1995, no. 69, illustrated in colour in the catalogue
LITERATURE
Elie Faure, Soutine, Paris, 1929, no. 25, illustrated (titled Le Chasseur and as dating from 1928)
Maximilien Gauthier, Art Vivant, Paris, 15th May 1930, p. 417
Mademoiselle Garde, ‘Mes Années Soutine’, in L’Œil, no. 13, January 1956, illustrated p. 31
Pierre Courthion, Soutine, peintre du déchirant, Paris, 1972, no. D, illustrated p. 269 (titled Le Valet de chambre (Le Chasseur) and as dating from 1928)
R. Martin, ‘Chaim Soutine’, in Arts Magazine, New York, vol. 48, no. 1, September-October 1973, illustrated p. 51
Maurice Tuchman, Esti Dunow & Klaus Perls, Chaïm Soutine, Catalogue Raisonné, Cologne, 1993, vol. II, no. 96, illustrated in colour p. 656
CATALOGUE NOTE
Portraying a young boy, only identified by his valet uniform, Le Valet de chambre epitomises Soutine’s portraiture of the middle and late 1920s, characterised by a great expressiveness of pose, rhythmically charged brushstrokes and strong colour contrasts. Regardless of the age, social status, or the artist’s personal involvement with the sitter, Soutine’s portraits are imbued with a strong physical presence, as well as with a uniqueness and individuality of his subjects. As the authors of the Catalogue raisonné of Soutine’s work have commented: ‘While his portraits do convey inner realities and make spiritual statements, they are primarily rooted in concrete perception. Though Soutine may project his inner turbulence and most personal feelings onto his subjects, the viewer never loses sight of a particular physical entity being carefully observed and experienced. Even the distortions and exaggerations of facial features and the shiftings and dislocations of body parts do not destroy the essential recognition in each painting of a certain person and a reality specific to him or her’ (M. Tuchman, E. Dunow & K. Perls, op. cit., p. 509).
Whilst Soutine occasionally painted portraits of his friends, fellow artists, patrons and several self-portraits, he usually preferred to depict anonymous sitters. The people, whom the artist encountered in everyday life, were identified by their professions and uniforms, such as page boys (fig. 1), pastry chefs (fig. 2) and valets, as in the present work. This shift from portraying people from his own social circle towards less known figures parallels that of his close friend and fellow artist Amedeo Modigliani who, having left Paris and moved to the French Riviera, executed a number of portraits of children, peasants, servants and shop girls. Le Valet de chambre bears resemblance, for example, to Modigliani’s Le Garçon en culottes (fig. 4): both are portraits of unidentified boys, seated frontally in a similar plain interior, with mannerist, elongated facial features. Although both artists sought to emphasise the emotional, inner state of their sitters, Soutine’s boy, rendered in quick, sharp brushstrokes, reflects a sense of angst and unease, Modigliani’s portrait has a dreamy, melancholic atmosphere.
‘Soutine generally chose anonymous figures as models. But as much as his characters may become types, they never give up their identities as particular people. Soutine’s insistence on the physical particularity of his subject, together with this move towards more anonymous sitters, demonstrates his resistance to completely losing himself in the subjective aspects of the portrait experience. This resistance to a complete union between painter and model is also felt in the way Soutine’s figures “pose” before him and us, open to our penetrating scrutiny, but somehow indifferent to the artist’s presence […]. It is the tension between their seeming detachment, on the one hand, and an awareness of Soutine’s personal involvement with them, on the other, that heightens the expressive charge of these figures’ (ibid., pp. 509-510).
Although Soutine painted a wide range of sitters throughout his career, the formal arrangements of these portraits remained consistent: his sitters are usually rendered seated, occasionally standing, in half-length or three-quarter-length pose. These figures, often facing frontally and clothed in formal dress, create a sense of posing, rather than a spontaneously captured likeness. Le Valet de chambre is no exception: the boy is depicted frontally, facing the artist, dressed in his valet’s uniform. Another recurring feature is the elongated shape of the head, often with a long nose, large protruding ears and deep, expressive eyes. The background, painted in deep blue tones, is bare and does not offer any clues as to the surrounding in which the sitter is depicted. This deliberate lack of detail takes the viewer’s focus away from the potential narrative of the painting and centres our attention on the physical and emotional power of the portrait. The energy and expressive force of Le Valet de chambre is evocative of the angst-ridden self-portraits of Van Gogh, as well as of his depictions of semi-anonymous models the artist encountered in everyday life.
Brown appropriates images by living, working artists, such as Frank Auerbach and Georg Baselitz, as well as paintings by historical artists, such as Guido Reni, Diego Velázquez, Anthony van Dyck, Rembrandt, Jean-Honoré Fragonard, Eugène Delacroix, John Martin, Gustave Courbet, Adolph Menzel, Pierre-Auguste Renoir, Vincent van Gogh, Chaim Soutine and Salvador Dalí. He claims that the references to these artists are not direct quotations, but alterations and combinations of several works by different artists, although the artists whose work is appropriated do not always agree. As art critic Michael Bracewell states, Brown is less concerned with the art-historical status of those works he appropriates than with their ability to serve his purpose – namely his epic exploration of paint and painting. In most cases, the artist uses reproductions printed in exhibition catalogues, found on the internet or ordered through print-on-demand companies. By scanning and changing the image with programmes like Photoshop, Brown playfully alters the image to his specific needs. He distorts, stretches, pulls, turns the image upside down and changes the colour, usually based on other found images, as well as the background setting. Describing his working practice in an interview, Brown stated: I‘m rather like a Dr Frankenstein, constructing paintings out of the residue or dead parts of other artist‘s work. I hope to create a sense of strangeness by bringing together examples of the way the best historic and modern-day artists have depicted their personal sense of the world. I see their worlds from multiple or schizophrenic perspectives, through all their eyes. Their sources of inspiration suggest things I would never normally see – rocks floating in far-off galaxies, for example, or a bowl of flowers in an 18th-century room, or a child in a fancy-dress costume. It‘s those fictions that I take as subject matter. The scenes may have been relatively normal to Rembrandt or Fragonard but because of the passage of time and the difference in culture, to me they are fantastical.
w.p.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
www.sothebys.com/en/auctions/ecatalogue/2013/impressionis... Chaïm Soutine
MAISON DE CLAMART
Estimate 500,000 — 700,000 USD
LOT SOLD. 617,000 USD (Hammer Price with Buyer's Premium)
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IMPRESSIONIST & MODERN ART DAY SALE
07 NOVEMBER 2013 | 9:30 AM EST
NEW YORK
CONTACT INFO
Chaïm Soutine
1893 - 1943
MAISON DE CLAMART
Signed Soutine (lower right)
Oil on canvas
23 5/8 by 28 5/8 in.
60 by 72.8 cm
Painted circa 1918-19.
READ CONDITION REPORT
SALEROOM NOTICE
This painting will be included in the forthcoming Volume III of the Chaim Soutine Catalogue Raisonne by Maurice Tuchman and Esti Dunow, currently in preparation.
PROVENANCE
Private Collection, New York (and sold: Sotheby's, Paris, December 8, 2010, lot 34)
Acquired at the above sale by the present owner
CATALOGUE NOTE
Painted circa 1918-19, this view of the Parisian suburbs is one of the earliest known landscapes by Soutine and already bears the hallmarks of the vigorous, passionate style that would seal the artist's reputation. Arriving in Paris in 1913, Soutine left La Ruche and moved to the Cité Falguière where he shared a studio with Modigliani. In addition to painting several series of portraits and still lives, the artist expressed increasing interest in landscape painting at this time. Thus he began to depict views of Clamart—where he visited his married friend Kikoïne—including this red-roofed house from 1918-19. The beauty of the neighboring countryside afforded him the opportunity to develop a powerful naturalism in which organic motifs, in particular trees, play an essential role. Though a mysterious white and red house occupies the center of this composition, the subject is not really the building, but the green verge in which it is nestled, which occupies both the foreground and background.
If there is one painter whose work can be decisively compared with that of Soutine, it is undoubtedly Cézanne: "The way in which Cézanne rigorously crops and fragments the space surrounding his forms, this crushing of 'solids into flat figures' becomes more than a mere pictorial technique for Soutine. The artist transforms this visual composition into an extremely personal metaphor: it becomes a means for expressing the inevitable fusion of forms and subjects, the personification of forms, flesh and pigments, that is so fundamental in his landscapes, his still lives and his portraits" (Chaim Soutine (exhibition catalogue), Galerie Thomas, Munich, 2009, p. 65).
While the foliage of the trees and their straight trunks dominate and energize the canvas, the tall grasses and reeds as well as the clumps of bushes form the bedrock of the composition. Aside from this structure and classical framing—the artist remains faithful to the view presented to him—Soutine's touch, rich with paint, thickens, his palette lightens, colors diversify and absorb the surface of the canvas, already heralding the explosion of tones that would be revealed, a mere few weeks later, in the Mediterranean.
Soutine's pictures, known for their textural bravura and focus on the sensual beauty of objects, astounded his contemporaries. Whether portraits of the working class, depictions of local monuments, landscapes or dead animals, he was able to invest vernacular subjects with a raw beauty that set him apart from the rest of the avant-garde. In the late 1920s, the art historian Elie Faure wrote a monograph on Soutine's work in which he extolled the artist for the passion behind his paintings and the quasi-religious fervor that he felt they expressed. Faure's analysis of these pictures, although grippingly poetic in its formal descriptions, met with much controversy and ultimately alienated that artist from the author. Although his interpretations of these pictures are debatable, Faure provided a description of the artist that captures accurately the intensity of his character. "If you saw him in the street," Faure wrote, "in the pouring rain, with his fugitive look, his hat pulled down over his eyes, his beautiful, small, pale hands, this Kalmouk's face with his straight hair covering his forehead, you would feel as if you were watching unfold the drama of the Magi pushing towards the star [of Bethlehem] in search of rest" (quoted in An Expressionist in Paris, The Paintings of Chaïm Soutine (exhibition catalogue), The Jewish Museum, New York; Los Angeles County Museum of Art, Los Angeles & Cincinatti Art Museum, Cincinatti, 1998-99, p. 34).
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Brown appropriates images by living, working artists, such as Frank Auerbach and Georg Baselitz, as well as paintings by historical artists, such as Guido Reni, Diego Velázquez, Anthony van Dyck, Rembrandt, Jean-Honoré Fragonard, Eugène Delacroix, John Martin, Gustave Courbet, Adolph Menzel, Pierre-Auguste Renoir, Vincent van Gogh, Chaim Soutine and Salvador Dalí. He claims that the references to these artists are not direct quotations, but alterations and combinations of several works by different artists, although the artists whose work is appropriated do not always agree. As art critic Michael Bracewell states, Brown is less concerned with the art-historical status of those works he appropriates than with their ability to serve his purpose – namely his epic exploration of paint and painting. In most cases, the artist uses reproductions printed in exhibition catalogues, found on the internet or ordered through print-on-demand companies. By scanning and changing the image with programmes like Photoshop, Brown playfully alters the image to his specific needs. He distorts, stretches, pulls, turns the image upside down and changes the colour, usually based on other found images, as well as the background setting. Describing his working practice in an interview, Brown stated: I‘m rather like a Dr Frankenstein, constructing paintings out of the residue or dead parts of other artist‘s work. I hope to create a sense of strangeness by bringing together examples of the way the best historic and modern-day artists have depicted their personal sense of the world. I see their worlds from multiple or schizophrenic perspectives, through all their eyes. Their sources of inspiration suggest things I would never normally see – rocks floating in far-off galaxies, for example, or a bowl of flowers in an 18th-century room, or a child in a fancy-dress costume. It‘s those fictions that I take as subject matter. The scenes may have been relatively normal to Rembrandt or Fragonard but because of the passage of time and the difference in culture, to me they are fantastical.
w.p.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Oil on canvas; 203.2 x 177.8 cm.
TWORKOV, JACK (1900–1982), U.S. educator, printmaker, painter. Tworkov was born in Biala, Poland and immigrated to the U.S. in 1913. He studied at Columbia University, the National Academy of Design, and the Art Students League. Tworkov worked as an artist for the Works Project Administration's Federal Art Project in 1935, where he met Willem de Kooning. Both men emerged as forces in the Abstract Expressionist movement. Tworkov was also one of the founders of The Club, a loose New York association of Abstract Expressionists which met to discuss matters relating to art making. Like many other Abstract Expressionists, Tworkov's early work consisted of figures and still-lifes. He also rendered images in a cubist style before adopting the visual aspects of Abstract Expressionism. As to be expected, his early work shared many stylistic characteristics with that of de Kooning. As Tworkov gained eminence along with his colleagues in the New York School representational subject matter became subsumed in abundantly textured long, dashing, diagonal brush strokes, as in his painting Blue Note from 1959. Among other influences, Tworkov also turned to the art of the marginalized Expressionist painter Chaim Soutine as a source of inspiration; in fact, Tworkov wrote an article on Soutine during the latter's 1950 show at MOMA. Tworkov achieved the illusion of vibrating and multiple fields or screens of color from a cool, restricted palette and subtle nuances of tone. Likely influenced by the Minimalists, Tworkov integrated grids and other ordering systems into his images from the 1960s onward, such as Shield (1961) and Variables II (1964–65). One of his major series of paintings, House of the Sun, refers to Ulysses, whose epic adventures suggested a variety of themes to the artist. Tworkov taught at numerous institutions: the American University, Black Mountain College (other luminaries of this period such as John Cage, Franz Kline, and Lyonel Feininger also taught here during the 1940s), Queens College, the Pratt Institute, and Yale University, where he functioned as chairman of the art department. He was a recipient of a Corcoran Gold Medal in 1963. Tworkov's art has been exhibited at numerous major museums, including the Art Institute of Chicago, the Guggenheim Museum, the Museum of Modern Art, New York, the Pennsylvania Academy, and the Whitney Museum, among other venues. His work is in the collections of the Hirschhorn Museum and Sculpture Garden, the National Gallery of Art, Washington, D.C., and the Smithsonian Museum of American Art.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Huile sur toile, 136 x 58 cm, 1921, fondation Barnes, Philadelphie.
Chaim Soutine est connu pour travailler en série. Pour lui, la répétition est véritablement une stratégie d'expression de l'originalité : chaque portrait est conçu comme une nouvelle rencontre entre un sujet matériel et sa propre perception. Ici, est représentée la silhouette élancée d'un homme âgé et chauve, assis sur une chaise en bois, avec les mains noueuses croisées (en prière ?) sur ses genoux. Son corps est allongé, comme la toile elle-même, et positionné frontalement, l'homme ressemblant ainsi à une icône byzantine ou à une statue gothique (cf. fondation Barnes).
Brown appropriates images by living, working artists, such as Frank Auerbach and Georg Baselitz, as well as paintings by historical artists, such as Guido Reni, Diego Velázquez, Anthony van Dyck, Rembrandt, Jean-Honoré Fragonard, Eugène Delacroix, John Martin, Gustave Courbet, Adolph Menzel, Pierre-Auguste Renoir, Vincent van Gogh, Chaim Soutine and Salvador Dalí. He claims that the references to these artists are not direct quotations, but alterations and combinations of several works by different artists, although the artists whose work is appropriated do not always agree. As art critic Michael Bracewell states, Brown is less concerned with the art-historical status of those works he appropriates than with their ability to serve his purpose – namely his epic exploration of paint and painting. In most cases, the artist uses reproductions printed in exhibition catalogues, found on the internet or ordered through print-on-demand companies. By scanning and changing the image with programmes like Photoshop, Brown playfully alters the image to his specific needs. He distorts, stretches, pulls, turns the image upside down and changes the colour, usually based on other found images, as well as the background setting. Describing his working practice in an interview, Brown stated: I‘m rather like a Dr Frankenstein, constructing paintings out of the residue or dead parts of other artist‘s work. I hope to create a sense of strangeness by bringing together examples of the way the best historic and modern-day artists have depicted their personal sense of the world. I see their worlds from multiple or schizophrenic perspectives, through all their eyes. Their sources of inspiration suggest things I would never normally see – rocks floating in far-off galaxies, for example, or a bowl of flowers in an 18th-century room, or a child in a fancy-dress costume. It‘s those fictions that I take as subject matter. The scenes may have been relatively normal to Rembrandt or Fragonard but because of the passage of time and the difference in culture, to me they are fantastical.
w.p.
White Box presents
Hyman Bloom
Paintings and Drawings 1940–2005
(“The Rabbinical Series”)
July 17 through September 23
Hyman Bloom (1913–2009) was a Latvian-born painter influenced by Eastern European Jewish heritage, Middle Eastern
and South Asian music, and mortality. Bloom and his family immigrated to Boston in the 1920s where he was discovered at
14, and received a scholarship to study drawing under famed Harvard art professor, Denman Ross.
The Rabbinical paintings presented in this exhibition, permeated by historical influences ranging from Grünewald and
Rembrandt, to Redon and Soutine, to Indian tantric art and Chinese painting, reflect the mystical and macabre with vivid
intensity: sordid subjects depicted in sensual, jewel-like colors. According to the artist, his works serve as “an attempt to cope
with one’s destiny and become master of it.”
Art critic, Thomas Hess, hailed Bloom in Art News as “one of the outstanding painters of his generation”. Bloom’s
“successors” Jackson Pollock and Willem de Kooning considered him the first Abstract Expressionist. His first public showing
contained thirteen paintings in the Museum of Modern Art exhibition “Americans 1942”, curated by Dorothy C. Miller. Bloom
represented the United States at the 1950 Venice Biennale alongside Gorky, Pollock, and de Kooning. In 1954, a traveling
retrospective of his work appeared at the Whitney Museum of American Art, to critical and press acclaim. In the mid-50s, he
participated in an experiment recording the effects of LSD in his drawings.
Bloom was a key figure in the Boston Expressionist movement. His shy, reclusive nature did not allow for joining arms
with the Abstract Expressionist explosion in the art world of the mid-20th century in New York. Rather, uninterested in fame,
Bloom veered off in his own direction, evoking the spiritual and the metaphysical, and not succumbing either to the pop art
movement that became ubiquitous later. Nonetheless, he remains an important link in American post-war art history, and his
work has been increasingly revisited since his death at the age of 96.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.