It was Anne Renoult’s passing eight years later that facilitated a reconciliation between Gilot and her father. The table, purchased by Gilot after she left Picasso in 1953, with the financial support and encouragement of her father, holds a vase of bright red anemones, interestingly a favorite of both her father and her grandmother.
La Chaise verte is seeped in melancholy and appears imbued with emotion, evidenced by the areas that have been worked and reworked on the surface. Of particular interest are the areas of pentimenti. The actual green chair is smaller in scale than originally painted, though Gilot has heightened the back, possibly for compositional value or parity.
At the end of 1957 and in spite of Picasso’s retaliatory influences, Gilot was offered a new contract with Galerie Coard in Paris. It was in 1958, feeling she had now “unified her hand,” that Gilot resumed a personal line of inquire in her work—branding each painting with a style unmistakably her own—and reflecting a concern for simplicity and tone-color coordination. The canvases of this period are not overcrowded and give spatial value to emphasize surface tension. Gilot enlarged a studio space at her parents' home in Neuilly so that she could work there each afternoon to be closer to her mother and infant daughter, Aurelia. This detail perhaps accounts for the still life canvases of this period being more introspective, often populated with personal objects from Gilot’s immediate living environment. For an artist known to paint primarily from her imagination, this image represents a rather rare and poignant period in Gilot’s oeuvre.
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