327
327

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

María Blanchard
LE MONOGRAMME
前往
327

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

María Blanchard
LE MONOGRAMME
前往

拍品詳情

印象派及現代藝術日拍

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倫敦

María Blanchard
1881 - 1932
LE MONOGRAMME
signed María Gutierrez Blanchard, dated 1916 and titled on the reverse
mixed media and collage laid down on board
46.6 by 26.6cm., 18 3/4 by 10 1/2 in.
Executed in 1916.
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來源

Private Collection
Galería Manel Mayoral, Barcelona
Private Collection, Spain (sale: Sotheby's, London, 20th June 2013, lot 140)
Purchased at the above sale by the present owner

展覽

Barcelona, Galería Manel Mayoral, El talante y la esencia de Paris, 2002, n.n.
Madrid, Museo Nacional Centro de Arte Reina Sofia, Blanchard, 2012-13, n.n., illustrated in colour in the catalogue

出版

María José Salazar, Maria Blanchard 1889-1932, Catalogue raisonné, Madrid, 2004, no. 31, illustrated in colour p. 97

相關資料

Le Monogramme dates from a pivotal period in María Blanchard’s career. Embracing the tenets of Cubism whilst living in Paris and creating some of her most significant works. Blanchard was inspired by the example of Juan Gris, whom she had first met in Montparnasse in 1915. However, it was Léonce Rosenberg who, in 1916, recognised Blanchard's talent and secured her financial future. In the artist's own words, 'he was one of the famous art dealers, such as Durand-Ruel, Vollard, Kahnweiler, etc.  He either gave me monthly arrears, or bought my paintings in advance, i.e. virtually the totality of my production. Don't forget that I worked slowly. The American buyers, such as Gertrude Stein and her brother, or Germans like Wilhelm Uhde, Russians like Tchoukine, and the often omitted Zborowski, Modigliani and Soutine's dealer, or again the Swiss Herman Ruff, did not visit my studio, which my painter friends were cautious not to tell him, i.e. Gris, Rivera, Picasso and even Lhote' (Maria Blanchard quoted in, Liliane Caffin Madaule, Catalogue raisonné des œuvres de María Blanchard, France, 2007, p. 49).

The present work displays several of the primary concerns of Cubism to striking effect. The choice of subject-matter, collage still life, was of abiding interest to artists such as Georges Braque and Pablo Picasso who pioneered the movement, since still life objects served as useful vehicles for the effective fragmentation of form. The striking distortion of perspective within Le Monogramme acts as an intriguing visual challenge for the viewer, whilst the inclusion of scraps of words within the composition adds another element of complexity to the scene. The result reveals Blanchard’s total mastery of the Cubist form.

印象派及現代藝術日拍

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倫敦