153
153

PROPERTY FROM A DISTINGUISHED ASIAN COLLECTION

Maurice Denis
VISITE DANS LA CHAMBRE VIOLETTE
前往
153

PROPERTY FROM A DISTINGUISHED ASIAN COLLECTION

Maurice Denis
VISITE DANS LA CHAMBRE VIOLETTE
前往

拍品詳情

印象派及現代藝術日拍

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Maurice Denis
1870 - 1943
VISITE DANS LA CHAMBRE VIOLETTE
Signed with the artist's monogram (lower right)
Oil on canvas
18 1/8 by 21 3/4 in.
46 by 55 cm
Painted in 1899.
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To be included in the forthcoming Maurice Denis Catalogue raisonné being prepared by Claire Denis and Fabienne Stahl.

來源

Estate of the artist
Madeleine Denis-Follain, Paris (the daughter of the artist; acquired by descent in 1943)
Antoine Poncet, Paris (by descent from the above)
Acquired after 1992

展覽

Albi, Musée Toulouse-Lautrec, Maurice Denis, 1963, no. 89
Paris, Galerie Beaux Arts, Maurice Denis, 1870-1943, 1963, no. 98
Milan, Galleria del Levante, Maurice Denis, 1966, no. 4, illustrated in the catalogue
Paris, Musée de l'Orangerie, Maurice Denis, 1970, no. 189, illustrated in the catalogue
Tokyo, Musée national d'art occidental, Maurice Denis, 1981, no. 65
Paris, Galerie Hugette Bérès, Paris, Maurice Denis: 1870-1943, 1992, no. 63

相關資料

Maurice Denis was a member of the Nabis—meaning "prophets" in Hebrew—a group of vanguard artists who met at the Académie Julian in Paris, including Pierre Bonnard, Henri Ibels, Paul Ransom, Paul Sérusier, Ker-Xavier Roussel and Édouard Vuillard. Denis observed that “It was the materialism of our teachers that led us, in reaction, to seek beauty outside nature, nature through science and art in theories” (quoted in Maurice Denis (exhibition catalogue), Musée des Beaux-Arts, Lyon, 1994, p. 115). Denis published “Definition du Néo-traditionnisme” in 1890, when he was just nineteen years old. In it he states, "Remember that a painting, before it is a war horse, a female nude or some little genre scene, is primarily a flat surface covered with colors arranged in a certain order" (quoted in ibid., p. 116). This observation would ultimately become one of the more celebrated remarks on the burgeoning stratum of Modern art.

Denis was deeply religious from an early age. Fascinated with the Renaissance and the works of Fra Angelico and other Quattrocento artists, he was drawn to the subject matter of mother and child throughout his career (see fig. 1). Here, he renders a visitation. A woman in contemporary fashion cradles a newborn baby while both a young child and the newborn’s mother look on affectionately. Denis imbues the room with a warm light, and the vibrant purple hue of the back wall further enlivens the scene. In actuality, this work depicts his wife Marthe welcoming visitors before the birth of their second daughter, Bernadette.  

A harbinger of the Fauve movement soon to be developed by Henri Matisse, Henri Manguin and Albert Marquet among others, La Chambre violette has a sensibility more in line with Denis’ traditional devout principles, yet his use of color attests to his awareness and willingness to embrace certain elements of more revolutionary styles.

印象派及現代藝術日拍

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紐約