187
187

PROPERTY OF AN IMPORTANT PRIVATE COLLECTOR

Moïse Kisling
NU ALLONGÉ SUR TAPIS FLEURI
Estimate
300,000500,000
JUMP TO LOT
187

PROPERTY OF AN IMPORTANT PRIVATE COLLECTOR

Moïse Kisling
NU ALLONGÉ SUR TAPIS FLEURI
Estimate
300,000500,000
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Day Sale

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New York

Moïse Kisling
1891 - 1953
NU ALLONGÉ SUR TAPIS FLEURI
Signed Kisling and dated Paris 1935 (upper right)
Oil on canvas
27 1/4 by 39 1/2 in.
69.2 by 100 cm
Painted in Paris in 1935.
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To be included in the Volume IV et Additifs aux Tomes I, II, et III of the Catalogue Raisonné de l’Oeuvre de Moïse Kisling currently being prepared by Jean Kisling and Marc Ottavi.

Provenance

Dr. Bergeret, Paris
Private Collection, France (acquired from the above in 1974 and sold: Sotheby's, London, February 6, 2008, lot 522)
Acquired at the above sale

Literature

Jean Kisling, Kisling 1891-1953, vol. I, Turin, 1971, no. 63, illustrated p. 335

Catalogue Note

Kisling's incredibly sensual nudes reflect the painter's love of the female form. In 1937, Louis Chéronnet wrote of the artist's exhibition at the Gertrude Stein Gallery: "Kisling is a sensual materialist with a taste for the sumptuous who focuses carefully on technique... What voluptuous lines and colors! All of Kisling's forms are characteristically elongated and graceful as a dancer in an arabesque. And over a seemingly inalterably prepared canvas colors spread, raw, shimmering, and unctuous" (quoted in Jean Kisling, op. cit., p. 43).

Kisling asserted that no artist past or present influenced his artistic style, but one cannot deny the similarities of the present work to the celebrated nudes painted by his close friend, Amedeo Modigliani (see fig. 1). Kisling met Modigliani shortly after moving to Paris from Poland in 1910, quickly becoming a key figure in the École de Paris and dubbed the “Prince of Montparnasse” by his cohorts.

The delicate shading and intense gaze of the sitter reflect the sensitivity to form, feeling and pictorial essence that only Kisling could achieve. Her almond-shaped eyes—a trademark of Kisling’s portraiture as well as Modigliani's—and the energy of color reflect the enthusiasm that these subjects inspired in him. As the artist once stated, “A beautiful girl in the nude fills me with joy, the desire to love, to be happy, and I would make the piece of cloth, the backdrop on which she poses, an expression of my delight” (quoted in ibid., p. 37).

Fig. 1 Amedeo Modigliani, Nu couchécirca 1920, oil on canvas, The Museum of Modern Art, New York

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