Georges Rouault

Private Collection (acquired in the 1980s)
Private Collection, Europe (by descent from the above; sale: Sotheby's, Paris, 4th December 2013, lot 19)
Purchased at the above sale by the present owner

The canvas is lined. UV examination reveals retouching to the upper part of the figure's proper left forehead. There are two spots of pigment loss at the left and right of the upper forehead. There is a fine line of stable craquelure, with a line of abrasion in proximity, running vertically from the centre of the upper edge. Some very fine lines of stable craquelure to some of the thicker white pigment. This work is in overall good condition.
"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."

Richly textured and saturated with brilliant colour, Rouault's bust of a harlequin belongs to the artist's most expressive and beloved series. While this character was famous as an alter-ego for Picasso during the first-half of the twentieth century, Rouault claimed the character for himself in later years, painting images of the figure that are now universally equated with his art. These nomadic entertainers represented freedom and naïveté for the artist, as he stated: ‘Acrobats and horsewomen, sparkling or passive clowns, tightrope walkers and freaks, and my friends, colour and harmony, since my earliest childhood I have been in love with you’ (quoted in Bernard Dorival & Isabelle Rouault, Rouault, l'œuvre peint, Monte Carlo, 1988, vol. I, p. 153). Rather than the outward signs of make-up, powder and sparkle, the artist was more concerned with the life hidden behind them. In the present work, he combats the potential frivolity of the subject by employing a Cloisonnist style and delineating the figure with black outlines. Unlike other artists working in this style, however, Rouault has used boundless expressionistic brushstrokes that deconstruct form and bring his subject to the edge of abstraction, seen here in the thick, sweeping brushstrokes of radiant pink and dazzling white that surround the figure.