Pierre Couthion, Soutine, peintre du déchirant, Lausanne, 1972, illustrated p. 183 (dated 1917)
Soutine, Céret 1919-1922 (exhibition catalogue), Musée d'Art Moderne, Céret, 2000, p. 512 (dated 1919 and with the incorrect dimensions)
Monroe Wheeler writes of the group of artists with whom Soutine mixed in Paris in the late 1910s, and of his character as an artist: "Soutine, Pascin, Utrillo and Modigliani - they have been grouped together as though violence of temper and proneness to trouble constituted a school of art. In France they are called Les peintres maudits - painters under a curse... Soutine was the least calamitous and least dissipated of the four, but perhaps the saddest. For as his art developed, it offered no distraction from his anxieties, animosities and self-reproach - no escape. Not that he intended any effect of autobiography by means of his art. But from an early age he used his hardship, pessimism and truculence to set a tragic tone for his painting, irrespective of its subject matter. Limiting the themes of his work to conventional categories - still life, landscape, portraiture and picturesque figure-painting - he would always charge his pictures with extreme implications of what he had in mind: violence of nature, universality of hunger, and a peculiar mingling of enthusiasm and antipathies" (Monroe Wheeler, Chaïm Soutine, New York, Museum of Modern Art (exhibition catalogue), 1950, p. 31).
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