André Lhote

Galerie Urban, Paris
Acquis du précédent dans les années 1970 par le propriétaire actuel

Genève, Galerie Moos, La Jeune peinture française. Les Cubistes, 1920
Paris, Galerie de l'Art Vivant, André Lhote, Rétrospective 1908-1953, 1953, no. 22
Paris, Galerie Suillerot, Cubisme, 1963, no. 63
Montréal, Galerie Théo Waddington, Rétrospective André Lhote, 1968, no. 9
Londres, Victor Waddington Gallery, André Lhote. Paintings, 1971, no. 6
Paris, Galerie Urban, Hommage à André Lhote, 1973, no. 20

René Barotte, "André Lhote raconte sa vie en six tableaux", Le Jardin des Arts, janvier 1957, reproduit p. 181
Galerie Bellier, Oeuvres anciennes 1908-1920, 1961, no. 12

The canvas is lined. UV light examiation shows a few spots of minor retouching scattered on the canvas and a 10cm line of retouching towards the centre left of the composition. This work is in good condition.
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signed 'A. Lhote' and dated '17' (lower right), oil on canvas. Painted in 1917.

En 1915-17, André Lhote crée une multitude de natures mortes d'un cubisme rigoureux, relativement abstraites, constellées d'objets plus ou moins reconnaissables. Dans cette composition de 1917, d'un lyrisme éblouissant, l'artiste utilise pleinement les éléments du cubisme, tout en y ajoutant une gamme de couleurs beaucoup plus étendue : vases, oranges, citrons, moulin à café, verre, carreaux de céramique polychrome sont harmonieusement dispersés sur la toile suggérant un intérieur domestique aux couleurs éclatantes. La planéité du support, l'absence de relief et de perspective révèlent un florilège de formes délicatement dessinées que sublime une palette richement colorée. Tel que le décrit Jean Cassou, Lhote se fait ici le chantre du cubisme : ce mouvement "lui inspire un code, une grammaire qu'il applique à chanter toutes les choses de l'univers, objets, êtres humain, éléments naturels, scènes de la vie..." (cité in. André Lhote, musée Toulouse-Lautrec, Albi, 1962, p. 14)

 

Between 1915 and 1917 André Lhote painted many still lives in a rigorously Cubist, relatively abstract style, composed of more or less recognisable objects. In this impressively lyrical composition from 1917, Lhote uses the principles of Cubism but adds a much more varied colour scheme: the vases, oranges, lemons, coffee grinder, glass, and multicoloured ceramic tiles are evenly arranged across the canvas to suggest a brightly coloured domestic interior. The flatness of the medium and the absence of any relief or perspective reveal an anthology of delicately sketched forms that are sublimated by the richly coloured palette. As Jean Cassou suggests, Lhote here becomes the poet of Cubism: the movement "inspires in him a code, a grammar which he uses to compose an elegy to everything in the universe, objects, human beings, natural elements, and scenes of everyday life ..." (cited in. André Lhote, Musée Toulouse-Lautrec, Albi, 1962, p. 14)