Impressionist and Modern Art, Day

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Lot 168
  • 168

Chaim Soutine

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Description

  • Chaïm Soutine
  • PORTRAIT DE CHARLOT

  • signed Soutine (upper right)

  • oil on canvas
  • 30 by 25.1cm., 11 3/4 by 9 7/8 in.

Provenance

Marcellin & Madeleine Castaing, Paris (acquired directly from the artist)
Michel Castaing (son of the above), Paris
Thence by descent to the present owners

Exhibited

New York, Carroll Carstairs Gallery, Paintings by Soutine, 1940, no. 6
New York, Niveau Gallery, Soutine, 1944, no. 13
Paris, Orangerie des Tuileries, Soutine, 1973, no. 58
Montrouge, Centre Culturel et Artistique, XXXIe salon, C. Soutine, 1986, no. 25
Milan, Galleria Bergamini, Chaim Soutine (1893-1943). I Dipinti della Collezione Castaing, 1987, no. 11, illustrated in colour in the catalogue
Chartres, Musée de Chartres, Soutine, 1989, no. 66, illustrated in colour in the catalogue
Andorra, Sala d'exposicions del Govern d'Andorra, Modigliani al cor de Parìs, 2004, no. 32, illustrated in colour in the catalogue

Literature

Jeannette Lowe, "The New and the Old Soutine. Cross-Section of the Emotional Painter", in Art News, vol. 38, no. 29, New York, 20th April 1940, p. 11
Marcellin Castaing & Jean Leymarie, Soutine, Paris & Lausanne, 1963, p. 31, pl. XXIV, illustrated in colour
Pierre Courthion, Soutine. Peintre du déchirant, Lausanne, 1972, p. 281, fig. A, illustrated
René Barotte, "Soutine, le témoignage de Madeleine Castaing", in Plaisir de France, no. 409, May 1973, p. 46, illustrated in colour
Maurice Tuchman, Esti Dunow & Klaus Perls, Chaim Soutine. Catalogue raisonné, Cologne, 1993, vol. II, p. 754, no. 168, illustrated in colour

Catalogue Note

Soutine met Charlot in Lèves during one of his stays with Marcellin and Madeleine Castaing. The young boy was the son of the local bistro owners. As Maïthé Vallès-Bled observed, this work embodies Marcellin Castaing's description of his visits to the Louvre with his wife Madeleine and Soutine : "[Soutine] s'extasiait devant la qualité et la profondeur désespérantes (c'était son mot) de certaines matières, particulièrement chez Courbet et chez Rembrandt, mais rien n'égalait son trouble devant l'humain. Il le cherchait et le trouvait par une sorte d'instinct" (quoted in Soutine (exhibition catalogue), 1989, op. cit., p. 292)