445
445

PROPERTY FROM A PRIVATE COLLECTION, TEXAS

Georges d'Espagnat
LE REPOS
Estimate
100,000150,000
JUMP TO LOT
445

PROPERTY FROM A PRIVATE COLLECTION, TEXAS

Georges d'Espagnat
LE REPOS
Estimate
100,000150,000
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Day Sale

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New York

Georges d'Espagnat
1870 - 1950
LE REPOS
Signed Georges d'Espagnat (lower right)
Oil on canvas
51 1/8 by 63 3/4 in.
130 by 162 cm
Painted circa 1892. 
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The authenticity of this work has been confirmed by Jean-Dominique Jacquemond. 

Provenance

Private Collection, France (and sold: Sotheby's, New York, November 8, 2006, lot 176)
Acquired at the above sale

Exhibited

(Possibly) Paris, Salon des Indépendants, 1892, no. 441

Catalogue Note

Independent from a young age, Georges d’Espagnat shunned the traditional art establishments of his day. Finding the conservative teaching methods and aesthetic principles of these institutions to be too restrictive, he left his studies at the École des Arts Decoratifs and the École des Beaux-Arts shortly after he began them in 1888, preferring instead to study works in the Louvre and attend classes at the more modern Académie Colarossi. This headstrong scorn for tradition ultimately led d’Espagnat to debut his work at the Salon des refusés in 1891. He would go on to exhibit at the first Salon d’Automne in 1903, which was founded as a reaction to the traditionalism of the official Paris Salon. In 1935, d’Espagnat was elected Vice President of the Salon d’Automne and ironically joined the teaching staff at the École des Beaux-Arts around the same time, continuing to teach there until the 1940s. An influential painter, he also worked as an illustrator and theater designer.

Painted not long after he abandoned his formal studies, Le Repos bears witness to d’Espagnat’s independent aesthetic. Though he was undoubtedly familiar with the work of the Impressionists, counting Renoir, Signac, Denis, Bonnard and Vuillard among his close friends, d’Espagnat chose to add his own unique touch to the prevailing style of the time. In Le Repos, d’Espagnat deploys the energetic hues and expressive application of paint typical of Impressionist compositions, but the effect is one more of shocking dissonance than soothing harmony. The contrast between the daringly bright colors of the background, which anticipate the vivid palette of the Fauve artists, and the soft subtlety of the foreground makes for a visually striking composition. 

Impressionist & Modern Art Day Sale

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New York