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拍品詳情

印象派及現代藝術日拍

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Moïse Kisling
1891 - 1953
LILIUMS
Signed Kisling, dated 1948 and inscribed Paris (lower left)
Oil on canvas
28 3/4 by 23 3/4 in.
73 by 60 cm
Painted in Paris in 1948.
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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.

來源

A. de Léché, Paris
Schlisselman Collection, Paris
Galerie Daniel Malingue, Paris
Akram Ojjeh, Saudia Arabia & Paris (acquired from the above in 1983)
Sale: Christie's, New York, November 9, 1999, lot 204
Acquired at the above sale by the present owner

展覽

Paris, Galerie Daniel Malingue, Maîtres impressionistes et modernes, 1983, n.n., illustrated in color in the catalogue

出版

Joseph Kessel & Jean Kisling, Kisling 1891-1953, vol. I, Turin, 1971, no. 109, illustrated p. 201

相關資料

This lively composition of lilies in full bloom is a testament to Kisling's mastery of the still-life genre, specifically his ability to capture the brilliant yet subtle hues of flower buds. In the present work, the lilies spring forth from their stems with dynamic energy; each bud stretching as far out as it can from the stem in a display of radiance as if engaged in competition. Kisling's most successful and vibrant floral scenes illustrate the artist's painstaking attention to detail, in which he renders each blossom with botanical accuracy and captures the varied textures and behaviors of petals. In this effort Kisling draws inspiration from Dutch Golden Age artists such as Ambrosius Bosschaert,and achieved particular renown for the naturalistic vibrancy of his compositions (see fig. 1).

Kisling's link to the Old Masters extended beyond mere technical emulation. "Kisling professed a high conscience of the artist's duties with regard to the perfection of basic drawing, and the quality of subject matter. As a colorist, he did not set a fixed boundary when it came to juggling nuances, contrasts, or the connection between tonalities: he paid great attention to the quality of pigments. I can still hear him say: 'Do you find this beautiful?... Yes, but you will see in 300 years! One must paint for posterity. One must also allow for the viewer to read the joy that the painter felt upon the creation of the work'" (Jean Kisling, ed., Kisling, 1891-1953, vol. III, Germany, 1995, p. 51).

印象派及現代藝術日拍

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