PROPERTY FROM THE COLLECTION OF ALAN DERSHOWITZ AND CAROLYN COHEN

Chaïm Soutine
JEUNE HOMME OBLIQUEMENT ÉTENDU
Estimate
500,000700,000
JUMP TO LOT

PROPERTY FROM THE COLLECTION OF ALAN DERSHOWITZ AND CAROLYN COHEN

Chaïm Soutine
JEUNE HOMME OBLIQUEMENT ÉTENDU
Estimate
500,000700,000
JUMP TO LOT

Details & Cataloguing

Israeli & International Art

|
New York

Chaïm Soutine
1893 - 1943
JEUNE HOMME OBLIQUEMENT ÉTENDU
signed Soutine (lower left)
oil on canvas
23 3/8 by 20 5/8 in.
59.4 by 52.4 cm.
Painted circa 1921-22.
Read Condition Report Read Condition Report

Authentication

This work will be included in the forthcoming third volume of the Chaïm Soutine catalogue raisonné currently being prepared by Maurice Tuchman and Esti Dunow.

Provenance

Kurt Mettler, Saint-Gall, Switzerland
Galerie Bignou, Paris
Perls Galleries, New York
William March, Paris (acquired from the above by 1954)
Private collection (and sold: Galerie Charpentier, Paris, June 3-4, 1958)
Maurice Kotler, Paris
Private collection, by descent from the above (and sold: Christie's, London, June 24, 1997, lot 241, titled Homme assis)
Acquired at the above sale by the present owners

Literature

P. Courthion, Soutine, Peintre du déchirant, Lausanne, 1972, no. A, illustrated p. 233, dated 1923-24

Catalogue Note

Chaïm Soutine painted Jeune homme obliquement étendu during his stay in Céret, a hamlet in Southern France near the Spanish border, where he lived between 1919 and 1922. In Céret, his early style reached its apogee, with highly charged compositions rendered in virtuoso brushwork.

Soutine's portraits are imbued with a strong physical presence and emphasize the 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, Chaïm Soutine, catalogue raisonné, vol. II, Cologne, 1993, p. 509).

In Jeune homme obliquement étendu the sitter recalls the war-weary survivors of World War I, physically battered and emotionally traumatized by their experiences. The slash of red across his mouth suggests a wound,  which is echoed in the aggressively applied band of red on the wall behind him. Altogether, the effect presages Soutine’s studies of butchered animal carcasses which he would commence in the mid-1920s. 

The painting has an illustrious provenance, including Kurt Mettler, the Swiss art dealer and friend of Dr. Albert Barnes (who as early as 1923 would buy 60 paintings by Soutine). This painting was also owned by the foremost US art dealer of Soutine’s works, the legendary Klaus Perls.

“He paints with a gusto which is consistently extravagant” – Alfred Barr, 1930

Israeli & International Art

|
New York