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Details & Cataloguing

Impressionist & Modern Art Day Sale

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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.
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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
A. Alfred Taubman, New York (acquired at the above sale)
Acquired from the estate of the above by the present owner

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 KooningPollack, Dubuffet, Francis Bacon, 2001-02

Literature

New York Times, November 8, 1953, illustrated 
Alfred Werner, "New York-Soutine: Affinity for an Alien World" in Art Digest, vol. 28, November 15, 1953, illustrated p. 17
Robert M. Coates, "The Art Galleries: Soutine and Modigliani" in 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, Chaïm 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" (quoted in Soutine (exhibition catalogue), Museum of Modern Art, New York, 1950, p. 50).

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