François-Louis Schmied

Aquarelle et goauche
Signé F.L Schmied en bas à droite

Very good condition. A very thin trace of square visible in three vertical lines. A very thin scratch lower left. A few thin scratches especially in the white parts that are not disturbing the lisibility of the work
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Les kasbahs furent un des sujets de prédilection de Schmied pendant son premier séjour marocain, en 1934 et 1935. L'architecture monumentale lui permettait de s'exercer au rendu subtil des couleurs du désert tout en insuflant à ses créations un goût manifestement Art déco.
Située sur le littoral atlantique, Safi possède une des nombreuses forteresses que compte le sud du pays. Celle-ci se trouve sur un rivage escarpé que Schmied met en relief dans sa composition, la rendant facilement identifiable. L'harmonieux camaïeu de tons bruns et blancs qui domine dans cette oeuvre, lui confère une élégance hiératique renforcée par les nombreux personnages vêtus de blanc qui scandent la composition. Un fort impact visuel émane de cette composition comme de toutes les peintures réalisées au Maroc, fortement marquées par l'esthétique Art Déco.
La plupart des peintures réalisées au Maroc furent gravées sur bois et éditées dans Sud-Marocain en 1936. L'ouvrage comprenait trente planches gravées sur bois en couleurs par Théo Schmied d'après les tableaux de son père.

During his first trip to Morocco, from 1934 to 1935, the kasbahs were Schmied’s favorite subject matter. Their monumental architecture allowed him to indulge in a subtle play with the desert’s lights and warm colors all while instilling them with a perceptible Art deco touch.
Positioned on the Atlantic coastline, Safi features one of the many kasbahs of southern Morocco. Schmied faithfully depicted this present Kasbah on the steep side of the oceanfront, making it easily recognizable. The dominant combination of harmonious white and brown shades in this work, endows it with a hieratic elegance which Schmied accentuated by inserting various figures robed in white, who also serve to orient our reading of the painting. The present work which is strongly marked by Art deco aestheticism exudes a strong visual impact, characteristic of Schmied’s oeuvre in Morocoo.
The majority of Schmied’s Moroccan paintings were engraved on wood and published in Sud-Marocain in 1936. The published work counts thirty colored illustrations of wood-engravings by Théo Schmied, of his father’s work.