PROPERTY OF A GENTLEMAN
Édouard Vuillard
RÉUNION ÉLECTORALE
LOT SOLD.
106,250 USD
Details & Cataloguing
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Édouard Vuillard
1868 - 1940
RÉUNION ÉLECTORALE
Signed with the initials ev (upper right)
Oil on board laid down on cradled panel
14 1/2 by 18 in.
36.8 by 45.7 cm
Painted in 1893.
Read Condition Report
Read Condition Report
Oil on board laid down on cradled panel
14 1/2 by 18 in.
36.8 by 45.7 cm
Painted in 1893.
Provenance
Estate of the artist
Marie Vuillard Roussel, Paris (by descent from the above)
Jacques Roussel, Paris (by descent from the above)
Sam Salz, New York (acquired from the above)
Private Collection, New York (acquired from the above on June 1, 1965)
Thence by descent
Marie Vuillard Roussel, Paris (by descent from the above)
Jacques Roussel, Paris (by descent from the above)
Sam Salz, New York (acquired from the above)
Private Collection, New York (acquired from the above on June 1, 1965)
Thence by descent
Exhibited
Toulouse, Salon de La Dépêche, 1894, no. 88
Paris, Galerie Charpentier, 1947
Paris, Galerie Charpentier, 1947
Literature
Claude Roger-Marx, Vuillard, His Life and Work, Paris, 1946, p. 46
Anne Georges, Symbolisme et décor, Vuillard, 1888-1905, Paris, 1982, p. 70
Patricia Eckert Boyer, Artists and the Avant-garde Theater in Paris, 1887-1900. The Martin and Liane W. Atlas Collection (exhibition catalogue), National Gallery of Art, Washington, D.C., 1998, illustrated p. 107
Antoine Salomon & Guy Cogeval, Vuillard, The Inexhaustible Glance, Critical Catalogue of Paintings and Pastels, vol. I, Milan, 2003, no. V-36, illustrated p. 386
Anne Georges, Symbolisme et décor, Vuillard, 1888-1905, Paris, 1982, p. 70
Patricia Eckert Boyer, Artists and the Avant-garde Theater in Paris, 1887-1900. The Martin and Liane W. Atlas Collection (exhibition catalogue), National Gallery of Art, Washington, D.C., 1998, illustrated p. 107
Antoine Salomon & Guy Cogeval, Vuillard, The Inexhaustible Glance, Critical Catalogue of Paintings and Pastels, vol. I, Milan, 2003, no. V-36, illustrated p. 386
Catalogue Note
Vuillard painted Réunion électorale in 1893, during what is considered to be one of the most significant points in his career. During this period the artist was a key member of the Nabis, an artist group including the Paul Sérusier, Félix Vallatton and Maurice Denis, whose color-saturated paintings were features at the Exposition des peintres impressionistes et symbolistes in 1892 in Paris. Critics praised Vuillard's compositions in particular for their perspective and subtlety, and were impressed by their modest scale that earned the artist the label intimiste. In 1894 he participated in another critically acclaimed exhibition of the Nabis at the offices of the Toulouse-based newspaper La Dépêche, where the present work was exhibited.
Vuillard's affiliation with the Nabis exposed his to the cross-section of the avant-garde, including Thadée Natanson, the publisher of the cultural periodical La Revue Blanche, and members of the Parisian theater community who commissioned him to design production sets for plays by Ibsen and Meaterlinck. Ibsen's play An Enemy of the People, wherein Dr. Stockman is accused of poisoning the town's hot springs by its citizens, may well have been the inspiration for the present work. The present composition depicts a political gathering of the kind Vuillard might well have attended given his involvement with the Parisian intelligentsia. Arthur Huc, director of La Dépêche, praised the work and said Vuillard "supremely masters his palette and brush, as is proved by his Electoral Meeting, in which, with only a few splashed of color and without laboring the drawing, the painter has given us the sensation of an incredibly swarming crowd" (quoted in Antoine Salomon & Guy Cogeval, op. cit., p. 386).
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