Lot 476
  • 476

María Blanchard

bidding is closed

Description

  • María Blanchard
  • MATERNITÉ
  • signed M Blanchard (lower left)
  • oil on canvas
  • 65.3 by 50.4cm., 25 3/4 by 19 7/8 in.

Provenance

Jean Grimar, Brussels
Gaudy Collection, Brussels

Condition

The canvas is not lined. There are three areas of retouching, the largest 1cm. sq. to the top right corner, two smaller spots of retouching to the upper left corner and a 1cm. sq. spot of retouching towards the centre of the upper edge. There is 2cm. line of retouching to the woman's hair, and some pinhead-sized spots of retouching above her ear. There is a nailhead-sized spot of retouching to her lips and neck, and a 2cm. by 1cm. area of retouching to the jaw of the baby. There is an area of scattered spots of retouching beneath the woman's lower hand, some retouching to both lower corners and 3cm. by 1cm. area of retouching to the right of the signature, and a 1cm. sq. spot to the right of the table. All retouching is visible under UV light. This work is in fairly good condition. Colours: The colours are more subtle, and the yellow tones less pronounced, in the original.
"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."

Catalogue Note

In the early 1920s Maria Blanchard's style changed radically. Close to Georges Braque, Pablo Picasso and Juan Gris, and already famous for her poetic Cubist compositions, she decided to move away from Cubism to a more expressive and figurative style.

As shown in the present work she developed a very personal palette with vivid contrasts between austere dark, metallic colours and splashes of brilliant light. Drawing her inspiration from the people and children she met in the street, she never used a model and painted her strong and powerful compositions from memory.