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Through his paintings, Nicolas de Staël (1914-1955) was looking for the absolute: “All my life, I had a need to think painting, to paint in order to liberate myself from all the impressions, all the feelings, and all the anxieties of which the only solution I know is painting”. Maybe this obsession is what pushed him to jump out the window of his studio in 1955… Born baron Nicolaï Vladimirovitch Staël von Holstein, Nicolas de Staël comes from a military environment. He kept this rigor all though his artistic life, as his picture technique resembles a sculptor’s. Highly influenced by Cézanne, Matisse, Picasso, Fernand Léger, Chaim Soutine, Rembrandt, Vermeer and Hercules Seghers, one could have thought that Nicolas de Staël could have get lost, but he did not. His abstract work is based on thick superimposed layers of paint, always with the wish to play with materials and colors. As proof, black was for him as light itself.
Check out Hôtel du Jeu de Paume !
Check out Hôtel du Jeu de Paume !
Hôtel du Jeu de Paume, member of Hoosta Luxury Hotels Collection.
Where can his work be seen at the Jeu de Paume? By booking room 211 or 212 on the second floor of the jeu de Paume hotel.
www.sothebys.com/en/auctions/ecatalogue/2015/masterworks-... Chaïm Soutine
LA FEMME EN ROUGE SUR FOND BLEU
Estimate 4,000,000 — 6,000,000 USD
LOT SOLD. 4,842,000 USD (Hammer Price with Buyer's Premium)
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THE COLLECTION OF A. ALFRED TAUBMAN: MASTERWORKS
04 NOVEMBER 2015 | 7:00 PM EST
NEW YORK
CONTACT INFO
Chaïm Soutine
1893 - 1943
LA FEMME EN ROUGE SUR FOND BLEU
Signed Soutine (lower left)
Oil on canvas
32 by 21 1/4 in.
81.2 by 54 cm
Painted circa 1928.
Please note that in the print catalogue for this sale, this lot appears as number 22T.
READ CONDITION REPORT
SALEROOM NOTICE
PROVENANCE
Georges Schick, Paris
Perls Galleries, New York (acquired by 1948)
Sydney M. Shoenberg, St. Louis
E. V. Thaw & Co., Inc., New York (acquired circa 1975)
Stephen Hahn, New York
Perls Galleries, New York
Philippe Reichenbach, Geneva
Private Collection (acquired from the above in the 1980s and sold: Sotheby's, London, June 19, 2006, lot 24)
Acquired at the above sale by A. Alfred Taubman
EXHIBITED
Paris, Galerie de France, Soutine, 1945, no. 28
New York, Perls Galleries, The Perls Galleries Collection of Modern French Paintings, 1948, no. 110, illustrated in the catalogue
Paris, XXXe Salon de Montrouge, 1986, no. 18
Tokyo, Odakyu Grand Gallery; Nara, Nara Sogo Museum of Art; Ibaraki, Kasama Nichido Museum of Art & Hokkaido, Hokkaido Museum of Modern Art, Chaïm Soutine, Centenary Exhibition, 1992-93, no. 65, illustrated in color in the catalogue
Lugano, Museo d'Arte Moderna, Chaïm Soutine, 1995, no. 70, illustrated in color in the catalogue
LITERATURE
Pierre Courthion, Soutine, peintre du déchirant, Paris, 1972, no. D, illustrated p. 262
Maurice Tuchman, Esti Dunow & Klaus Perls, Chaïm Soutine. Catalogue raisonné, Cologne, vol. II, 1993, no. 125, illustrated in colour p. 695
CATALOGUE NOTE
La femme en rouge sur fond bleu of circa 1928 exemplifies Soutine’s portraiture style after 1922, characterised by the highly expressive, dramatic use of color and the distortion of the sitter’s body. The vast majority of Soutine’s human images are single portraits, usually seated figures, half or three-quarter-length. While the male sitters are almost all young men or boys wearing some type of uniform – pastry cooks, choir boys and waiters – the women are not so easily identified. In the present portrait of an unidentified woman Soutine models her face through the interaction of red and blue which is echoed in the stark contrasts between the red dress and deep blue background. A certain confrontational quality characteristic of Soutine’s portraits is present in La femme en rouge sur fond bleu, achieved not only through energetic brushstrokes and the striking color scheme but also through the positioning of the subject close to the picture plane and the flattening of the perspective.
In discussing the present work, Maïthé Vallès-Bled commented: "The model’s beautiful red dress and jewellery would lead one to suppose that she is an actress or a singer. She may also have been a guest in one of the grand hotels that the artist sometimes visited. His taste for beautiful clothes, which is not apparent in any of his previous works, now comes to the fore in some of his portraits. Soutine, who but a few years prior to this had lived in conditions of poverty and neglect, now began to cultivate his appearance. He wore clothes by the finest designers, loved to wear hats and even had his hands regularly manicured. The model’s pose is elegant and her hair is painted with great care" (M. Vallès-Bled, in Chaïm Soutine [exhibition catalogue], op. cit., 1995, p. 173).
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.
Mixed media on canvas; 170 x 222.4 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.
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.
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.
Detail from le matin clair aux saules by Claude Monet.
Claude Monet, born Oscar Claude Monet (14 November 1840 – 5 December 1926), was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting.
The term Impressionism is derived from the title of his painting Impression, Sunrise (Impression, soleil levant).
The Musée de l'Orangerie is an art gallery of impressionist and post-impressionist paintings located in Paris.
It contains works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaim Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the bank of the Seine in the old orangery of the Tuileries Palace on the Place de la Concorde.
A cycle of Monet's water-lily paintings, known as the Nympheas, was arranged on the ground floor of the Orangerie in 1927.
The museum was closed to the public from the end of August 1999 until May 2006. The Orangerie was renovated in order to move Les Nympheas to the upper floor of the gallery.
They are now available under direct diffused light as was originally intended by Monet.
The eight paintings are displayed in two rooms. They are:
1) Le Matin aux saules
2) Le Matin clair aux saules
3) Reflets d'arbres
4) Les Nuages
5) Soleil couchant
6) Reflets verts
7) Les deux saules
8) Matin.
Oil on canvas; 50 x 61 cm.
Chaïm Soutine was a Jewish, expressionist painter from Belarus. He has been interpreted as a forerunner of Abstract Expressionism. From 1910–1913 he studied in Vilnius at the Vilna Academy of Fine Arts. In 1913 he emigrated to Paris, where he studied at the Ecole des Beaux-Arts under Fernand Cormon. He soon developed a highly personal vision and painting technique. For a time, he and his friends lived at La Ruche, a residence for struggling artists in Montparnasse, where he became friends with Amedeo Modigliani. Modigliani painted Soutine's portrait several times.
In 1923, the American collector Dr. Albert C. Barnes visited his studio and immediately bought 60 of Soutine's paintings. In February 2006, the oil painting of the series 'Le Boeuf Ecorche' (1924) sold for a record £7.8 million ($13.8 million) to an anonymous buyer at a Christies auction held in London - after it was estimated to fetch £4.8 million.
Soutine produced the majority of his works from 1920 to 1929. He seldom showed his works, but he did take part in the important exhibition The Origins and Development of International Independent Art held at the Galerie nationale du Jeu de Paume in 1937 in Paris, where he was at last hailed as a great painter. Soon thereafter France was invaded by German troops. As a Jew, Soutine had to escape from the French capital and hide in order to avoid arrest by the Gestapo. He moved from one place to another and was sometimes forced to seek shelter in forests, sleeping outdoors. Suffering from a stomach ulcer and bleeding badly, he left a safe hiding place for Paris in order to undergo emergency surgery, which failed to save his life. On August 9, 1943, Chaim Soutine died of a perforated ulcer.
Huile sur toile, 100 × 56 cm, 1925, musée des Beaux-Arts, Chartres.
C’est au Blanc, dans l’Indre, dans la propriété du marchand Zborowski que Soutine peint, en 1925, Le Grand Enfant de chœur. Premier exemple sur ce thème qu’il développe jusqu’en 1927, cette toile annonce l’intérêt du peintre pour le traitement sériel d’un sujet qui traverse la série des Bœufs écorchés, des natures mortes de Volailles et de gibiers, et comme ici, celle des portraits de figures anonymes, identifiables par le costume emblématique de leur fonction sociale. Le choix de ces thèmes lui est inspiré par les maîtres anciens qu’il découvre dans les musées parisiens : Goya, Greco, Tintoret, Rembrandt…
Ainsi, de cet enfant de chœur en pied, citation de celui de Courbet, debout au premier plan dans L’Enterrement à Ornans. La série permet à Soutine d’explorer les possibilités et les variations qu’offre la peinture. Avec Le Grand Enfant de chœur, ou encore la Communiante de 1925, la fascination de Soutine pour les habits liés aux rites religieux s’accorde avec ses deux couleurs de prédilection, le blanc et le rouge. Ici, l’éclat des coloris, associé à la touche nerveuse et vibrante, à l’allongement démesuré de la figure qui semble flotter dans l’espace du tableau, traduisent une tension dramatique et inquiétante, proche de l’univers du Greco (cf. Dorothée Deyriès-Henry, centre Pompidou).
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.
The pretentious title is because often when it rains I can't seem to ever forget seeing this amazing painting by Chaim Soutine at the Phillips Collection during my impressionable youth. We had a crazy little hail-storm today follwed by some fantastic light. (The upper right corner looks a little Vesuvius-like but it is just a laggardly lingering storm cloud.)
The online version of this painting doesn't do it justice so if you get the chance go see it! (or just wait for it to rain/sun and go outside)
Try it on black!
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.
Landscape at C?ret c.1920-1 Cha?m Soutine 1893-1943 Purchased 1964 www.tate.org.uk/art/work/T00692
After working for many years in Paris, Soutine produced a series of works in towns in the South of France. The subject and colouring of this work are not far from the calm analysis of landscape undertaken by Cézanne. However, Soutine’s handling of paint conveys an agitated, frenetic quality, suggesting a confrontation with the earthy forces of nature. The town reels under the painter’s energy and appears to rear up over us.
Gallery label, September 2004
=
Catalogue entry
Chaim Soutine 1894-1943
T00692 Paysage à Céret (Landscape at Caret) c.1920-1
Inscribed 'Soutine' b.r.
Oil on canvas, 22 x 33 (61 x 84)
Purchased from Sir Rex de C. Nan Kivell (Special Grant-in-Aid) 1964
Prov: With Redfern Gallery, London, 1938 (purchased from the artist?); Sir Rex de C. Nan Kivell, London
Exh: Soutine, Redfern Gallery, London, 1938 (no catalogue); Russian Emigré Artists in Paris, Redfern Gallery, London, December 1953-January 1954 (2) as 'L'Orage, Ceret'; Summer Exhibition, Redfern Gallery, London, July-September 1959 (142); Selected French Paintings, Redfern Gallery, London, February-March 1960 (18); Summer Exhibition, Redfern Gallery, London, June-September 1960 (294); Selected French Paintings 1900-1945, Redfern Gallery, London, February-March 1961 (139); Summer Exhibition, Redfern Gallery, London, July-September 1962 (353); Summer Exhibition, Redfern Gallery, London, June-September 1963 (531); Soutine, RSA, Edinburgh, August-September 1963 (14, repr. in colour); Tate Gallery, September-November 1963 (14, repr. in colour); Study for an Exhibition of Violence in Contemporary Art, ICA, London, February-March 1964 (03); Summer Exhibition, Redfern Gallery, London, June-September 1964 (688); Chaim Soutine 1893-1943, Los Angeles County Museum, February-April 1968 (15, repr.); Soutine, Israel Museum, Jerusalem, May-August 1968 (13)
Lit: Andrew Forge, Soutine (London 1965), pp.38-9, repr. pl.12 in colour (colours very inaccurate); Peter Stone, 'Soutine at Céret' in Art and Artists, V, 1 April 1970, p.56, repr. p.55
Repr: The Tate Gallery (London 1969), p.119
Soutine worked at Céret, a small hill-town in the French Pyrenees, between 1919 and 1922. The present work has sometimes been known under the misleading title 'Storm at Céret', but the stormy effect is to be seen rather as a projection of the artist's own mood than as a rendering of the weather. The treatment is typical of Soutine's Céret period in its thickly impasted low-keyed colour and in the way in which the landscape, seen through dense foliage, becomes convulsively animated, twisted and knotted. A photograph of this particular hillside and farmhouse is reproduced in Art and Artists, op. cit., p.55. It was taken by Peter Stone in 1965 (though not published until 1970), but shows a view from several hundred yards further away, as the land in between, which was then a park, is now private property. The gnarled tree, like most of the trees in the area, has been cut down. There is another painting of almost exactly the same view (repr. in Pierre Courthion, Soutine: Peintre du Déchirant, Lausanne 1972, p.204B as 'The Hill' 1921-2), and one, now in the Fogg Art Museum, Cambridge, Massachusetts, which includes more of the hillside to the right (repr. Courthion, op. cit., p.199G as 'Landscape at Céret (The House under the Trees)' 1919-20). The farmhouse probably also figures in other pictures, but seen from different viewpoints, such as Courthion p. 190B and p.206C.
Sir Rex de C. Nan Kivell, the previous owner of this work, wrote as follows of its provenance (26 June 1976):
'This Soutine was one of the collection I brought over from Paris in 1938 and which we showed at the Redfern in one of the rooms but of which we had no catalogue, only a typed list pinned to the wall.
'My recollection is that we only sold three or four, the Céret one in discussion I bought myself and I also bought another one Route de Cagnes.
'The majority of the pictures came on loan from Mme Zac of the Galerie Zac [Zak] Paris, and were returned to her. She got them direct from Soutine. I chose a number from a collection Soutine brought unframed to the Café Deux Magots, the Céret painting being one of the Soutine collection.'
Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.700-1, reproduced p.700
ARTISTChaïm Soutine 1893–1943
ORIGINAL TITLEPaysage à Céret
MEDIUMOil paint on canvas
DIMENSIONSSupport: 559 x 838 mm
frame: 911 x 1121 x 109 mm
COLLECTIONTate
ACQUISITIONPurchased 1964
REFERENCET00692
LEON iNDENBAUM by DIEGO RIVERA "Hombre dell Cigarrillo" - Los Angeles County Museum of Art. Portrait of the sculptor Indenbaum by his friend the painter Rivera (Pictured with his wife Frida Kahlo). Realized in 1913 in Paris at LA RUCHE, academy of famous artists: Soutine, Foujita, Chagall, Giacometti, Bourdelle, Orloff, Modigliani, Indenbaum, Valadon, Kikoine, Brancusi, Bugatti, Laurencin, Matisse, Miro, Picasso, Vlamenk, Zadkine, Pompon, Archipenko, Kremegne, Bonnard, Kisling, Utrillo...
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Chaïm Soutine
LA FEMME ACCOUDÉE
Estimate 600,000 — 800,000 GBP
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21 JUNE 2017 | 7:00 PM BST
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CONTACT INFO
Chaïm Soutine
1893 - 1943
LA FEMME ACCOUDÉE
signed C. Soutine (lower right)
oil on canvas
41 by 33cm.
16 1/8 by 13in.
Painted circa 1937.
READ CONDITION REPORT
SALEROOM NOTICE
PROVENANCE
Valentine Gallery, New York
Mr & Mrs William H. Weintraub, New York (acquired from the above after 1944)
Estate of the above (sold: Sotheby's, New York, 5th November 1981, lot 245)
Jacob Baal-Teshuva, New York (purchased at the above sale)
Private Collection (acquired from the above)
Acquired from the above by the present owner
EXHIBITED
New York, Valentine Gallery, Eighteen Selected Paintings by Soutine, 1937
LITERATURE
Pierre Courthion, Soutine. Peintre du déchirant, Lausanne, 1972, fig. B, illustrated p. 281 (titled Femme accoudée, la tête dans les mains and as dating from 1936)
Maurice Tuchman, Esti Dunow & Klaus Perls, Chaim Soutine, Catalogue Raisonné, Cologne, 1993, vol. II, no. 166, illustrated in colour p. 751
CATALOGUE NOTE
Richly hued and expressively painted, La femme accoudée is an enigmatic portrait by Chaïm Soutine from the late 1930s. Executed in his typical palette of red, pink and blue, it bears a striking affinity to his earlier portraits of anonymous sitters identifiable only as valets, cooks and waiters. Though not formally identified, the sitter’s arresting character is powerfully captured in the present work. As Esti Dunow and Maurice Tuchman write in their assessment of the artist’s portraiture, ‘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’ (E. Dunow & M. Tuchman, op. cit., p. 509).
Following a decade of relative success, Soutine’s peripatetic movement about Paris gradually halted, and in 1937 he took a permanent studio at 18 Villa Seurat, which was part of an artistic community in the 14e arrondissement. Another resident of the Villa Seurat was the writer Henry Miller, who commented on his neighbour: ‘And there was Soutine who lived right downstairs from me in the Villa Seurat. By that time his bohemian days were over’ (quoted in An Expressionist in Paris. The Paintings of Chaim Soutine (exhibition catalogue), The Jewish Museum, New York, 1998, p. 110). This more settled way of life might be attributable to Soutine’s relationship with a young Jewish woman called Gerda Groth. Gerda, whom he nicknamed Mlle Garde, as she took such good care of him, moved into the Villa Seurat in 1937, was the first woman to live with the artist and provided him with a more stable way of life as well as a readily available model for paintings such as the present work.
www.sothebys.com/en/auctions/ecatalogue/2015/masterworks-... Chaïm Soutine
PAYSAGE AUX TOITS ROUGES
Estimate 1,500,000 — 2,000,000 USD
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THE COLLECTION OF A. ALFRED TAUBMAN: MASTERWORKS
04 NOVEMBER 2015 | 7:00 PM EST
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CONTACT INFO
Chaïm Soutine
1893 - 1943
PAYSAGE AUX TOITS ROUGES
Signed Soutine (lower right)
Oil on canvas
19 3/4 by 25 3/4 in.
50.1 by 65.5 cm
Painted circa 1919.
Please note that in the print catalogue for this sale, this lot appears as number 14T.
READ CONDITION REPORT
SALEROOM NOTICE
PROVENANCE
Galerie Percier, Paris
Perls Galleries, New York (acquired by 1952-53)
Bertram N. Linder, Dalton, Pennsylvania (acquired from the above in 1953 and sold: Sotheby's, London, December 7, 1977, lot 78)
Christian Fayt, Belgium
Sale: Christie's, New York, October 31, 1978, lot 26
Acquired at the above sale by A. Alfred Taubman
EXHIBITED
New York, Perls Galleries, Modern French Paintings, 1952, no. 175
Venice, XXVI Biennale di Venezia, 1952, no. 6
Providence, Rhode Island School of Design Museum of Art, Chaïm Soutine: 1893-1943, 1953
New York, Perls Galleries, Modern French Paintings, 1953, no. 190
West Bloomfield, Michigan, Janice Charach Epstein Museum Gallery at the Jewish Community Center of Metropolitan Detroit, The Art of Collecting II - Fine Art Created by Jewish Artists, 1992
Céret, Museé d'Art Moderne de Céret, Soutine in Céret, 1919-1922, 2000, illustrated in color in the catalogue
Cologne, Galerie Gmurzynska, The Impact of Chaïm Soutine: De Kooning, Pollack, Dubuffet, Francis Bacon, 2001-02
LITERATURE
New York Times, November 8, 1953, illustrated
Alfred Werner, "New York-Soutine: Affinity for an Alien World," Art Digest, vol. 28, November 15, 1953, illustrated p. 17
Robert M. Coates, "The Art Galleries: Soutine and Modigliani," The New Yorker, vol. 29, November 21, 1953, no. 40, illustrated p. 106
Pierre Courthion, Soutine: Peinture du Déchirant, Lausanne, 1972, no. F, illustrated p. 205
Esti Dunow, Klaus Perls & Maurice Tuchman, Chaim Soutine, Catalogue Raisonné, vol. I, Cologne, 1993, no. 40, illustrated in color p. 152
CATALOGUE NOTE
Characterized by powerful strokes of bold color, this landscape exemplifies Soutine's expressive potential as a landscapist. In 1919, Leopold Zborowski, the art dealer who championed the works of both Soutine and Modigliani, encouraged Soutine to leave Paris for the small town of Céret in the Pyrenees. The "Céret Period" of 1919 to 1921 constitutes what was the most prolific period of production in the artist's career. The approximately 200 works executed at this time are characterized by a powerfully expressionist style which, in its distortions, approaches abstraction. In a discussion of the Céret works, Monroe Wheeler stated, "The vehement and idiosyncratic style that he developed there shocked all of Soutine's contemporaries... It is as though this young man of thirty years ago felt that he had a world-shaking message...The landscapes of the Pyrenees seem, indeed, to be shaken by some cosmic force; the architecture becomes flexible and billows like a canvas, the trees reel and stumble about, and the colors seem to have been wrested hungrily from the spectrum; his palette seemed to enter the dance with his forms, the color of one whirling away with the form of another" (Soutine, The Museum of Modern Art, New York, 1950, p. 50).
www.sothebys.com/en/auctions/ecatalogue/2015/impressionis... Chaïm Soutine
PORTRAIT DE MADAME X - PORTRAIT ROSE
Estimate 1,000,000 — 1,500,000 USD
LOT SOLD. 1,030,000 USD (Hammer Price with Buyer's Premium)
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05 MAY 2015 | 7:00 PM EDT
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CONTACT INFO
Chaïm Soutine
1893 - 1943
PORTRAIT DE MADAME X - PORTRAIT ROSE
Signed C. Soutine (lower left)
Oil on canvas
16 1/2 by 19 5/8 in.
42.1 by 50 cm
Painted circa 1919.
READ CONDITION REPORT
SALEROOM NOTICE
PROVENANCE
Jonas Netter, Paris (acquired by circa 1925)
Private Collection (acquired by 1946)
Sale: Christie's, London, June 25, 1984, lot 19
Jacob Baal-Teshuva, New York (acquired at the above sale)
Private Collection (and sold: Sotheby's, New York, November 12, 1988, lot 353)
Private Collection, Greenwich, Connecticut (and sold: Christie's, London, February 7, 2007, lot 351)
Acquired at the above sale
EXHIBITED
(Possibly) Paris, Les Expositions de "Beaux Arts" et de "La Gazette des Beaux-Arts," Peintres instinctifs, Naissance de l'expressionnisme, 1935-36, no. 141
Paris, Petit Palais, Les Maîtres de l'art indépendent, 1895-1937, 1937, no. 57
LITERATURE
Pierre Courthion, Soutine, Peintre du déchirant, Lausanne, 1972, no. E, illustrated p. 178
Maurice Tuchman, Esti Dunow & Klaus Perls, Chaïm Soutine, Catalogue raisonné, vol. II, Cologne, 1993, no. 17, illustrated p. 546
CATALOGUE NOTE
Portrait de Madame X - Portrait Rose exemplifies the extraordinary talents of Chaim Soutine, one of the most innovative portraitists of the early twentieth century. Rather than seeking glamorous models of high social status, Soutine instead turned to everyday people as a source of inspiration for his most successful works. In his wildly expressive and eccentric depictions of these figures, Soutine is able to transform the appearance of his models from the commonplace to the truly outstanding. The present work does just that, Soutine has taken his sitter, the anonymous Madame X, and fervently painted her in a bright red dress with rosy cheeks and blood-red lips, even signing the portrait in the same hue, thus creating a distinctive persona and a previously unattainable sense of bravura. Paintings such as Portrait de Madame X - Portrait Rose that were emotionally charged and focused on hauntingly sensuous subjects astounded Soutine’s 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.
Portrait de Madame X - Portrait Rose epitomizes Soutine's portraiture of the 1920s, which was characterized by a great expressiveness of pose, rhythmically charged brushstrokes and strong color 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" (Maurice Tuchman, Esti Dunow & Klaus Perls, op. cit., p. 509).