- 21
JEAN FAUTRIER | Nu debout à la frange
估價
250,000 - 350,000 EUR
招標截止
描述
- Jean Fautrier
- Nu debout à la frange
- signed
- oil on canvas
- 100 x 65 cm; 39 3/8 x 25 9/16 in.
- Executed circa 1928.
來源
Galerie Jeanne Castel, Paris
Private Collection, Paris
Private Collection, Allemagne
Private Collection, Paris
Private Collection, Allemagne
展覽
Giorgio Galansino, Jean Fautrier: A Chronology of his Early Paintings (1921-1942), 1973, Thesis, Université de Chicago, no. 73, illustrated
Marcel André Stalter, Recherche sur l'œuvre de Jean Fautrier de son commencement à 1940. Essai de catalogue méthodique et d'interprétation, Paris, Thesis, Sorbonne, 1982, no. 237
Marcel André Stalter, Recherche sur l'œuvre de Jean Fautrier de son commencement à 1940. Essai de catalogue méthodique et d'interprétation, Paris, Thesis, Sorbonne, 1982, no. 237
Condition
The colours are fairly accurate in the printed catalogue illustration however the overall tonality is less contrasted in the original work and the edges of the canvas are not visible in the catalogue illustration. Please refer to the Contemporary Art Department for an updated image. Few areas along the edges are left unpainted by the artist. Stabilised cracks are visible mainly in the upper right and lower left quadrant. Under ultra Violet Light inspection there is no evidence of restoration. This work is in 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."
"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."
拍品資料及來源
Fautrier does not paint things or beings but the essential reality of their presence in the world. Flirting with abstraction all along his career, with reminiscence of Turner, Rembrandt and Chardin, this great artist undoubtedly established himself as the master of modern tragedy. Fautrier started doing nudes in 1925 inspired by his partner Andrée Pierson. Through a series of crudely realistic paintings and pastel works made in poisonous tints, the artist gave a hint of the pictorial virtuosity he was to unfold in the course of the following decade. Pioneering the Formal Art movement, these nudes announced the distinct and bold style that distinguished Fautrier.
His paintings became darker at the end of the 20s. Ignoring the foundations of neo-classicism and taking even more distance with the artistic movements in fashion at the time, Fautrier initiated what art historians considered his first stroke of genius: his fascinating and disturbing "black period".
In this big nude with primitive and expressionist hints, a sculptural body emerges from the darkness of a bister and multicolored background. Disciple of Celine before his time, Fautrier here becomes recipient and visionary of the most ancestral and contemporary painting.
Nobody can remain insensitive to the spectral luminosity and raw presence of this work thanks to which Fautrier met his first commercial success: he signed a contract with Paul Guillaume, and Leopold Zborowski exhibited his work next to Modigliani, Kisling and Soutine. Malraux himself recognized his genius, convinced that "modern art [was] born the day the idea of art and beauty were set apart".
This work will be included in the forthcoming Catalogue Raisonné for Jean Fautrier, currently in preparation by Marie-José Lefort, Geneva.
His paintings became darker at the end of the 20s. Ignoring the foundations of neo-classicism and taking even more distance with the artistic movements in fashion at the time, Fautrier initiated what art historians considered his first stroke of genius: his fascinating and disturbing "black period".
In this big nude with primitive and expressionist hints, a sculptural body emerges from the darkness of a bister and multicolored background. Disciple of Celine before his time, Fautrier here becomes recipient and visionary of the most ancestral and contemporary painting.
Nobody can remain insensitive to the spectral luminosity and raw presence of this work thanks to which Fautrier met his first commercial success: he signed a contract with Paul Guillaume, and Leopold Zborowski exhibited his work next to Modigliani, Kisling and Soutine. Malraux himself recognized his genius, convinced that "modern art [was] born the day the idea of art and beauty were set apart".
This work will be included in the forthcoming Catalogue Raisonné for Jean Fautrier, currently in preparation by Marie-José Lefort, Geneva.