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The Orientalist Sale
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Jacques Majorelle
1886 - 1962
FRENCH
THE VILLAGE OF ASSIKIS IN THE MOROCCAN GRAND ATLAS
THE VILLAGE OF ASSIKIS IN THE MOROCCAN GRAND ATLAS
signed, inscribed and dated j. majorelle / assikis / Ht Sexaoua 1929 lower left; inscribed in pencil a graver en premier / Assikis (Sexaoua) / grd Atlas / contre-jour on the reverse
gouache and mixed media heightened with silver and gold on board
63 by 48cm., 24¾ by 19in.
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gouache and mixed media heightened with silver and gold on board
63 by 48cm., 24¾ by 19in.
來源
Sale: Christie's, London, 15 June 2015, lot 83
Purchased at the above sale by the present owner
Purchased at the above sale by the present owner
出版
Felix Marcilhac, Les Orientalistes, La vie et l’oeuvre de Jacques Majorelle, vol. VII, Courbevoie, 1988, pp. 152-53, catalogued & illustrated
相關資料
Jacques Majorelle is renowned for introducing a new pictorial language to the genre of Orientalist painting with his innovative style that takes inspiration from Art Nouveau and modern trends pervading French art. On his first visit to Morocco in 1917, Majorelle instantly fell in love with the vibrant light and local colour, as well as the topography of the landscape.
Unlike many of Majorelle’s colourful kasbah paintings, the present work is composed of a muted chiaroscuro palette of greys and browns juxtaposed with sandy whites, a dramatic evocation of the arid terrain and near-blinding effect of the relentless Saharan sun. The gold and silver highlights, which dominate the work, further add to this scintillating effect. Combined with the sharp verticality of the kasbah and stepped chiaroscuro, this creates a strong graphic dimension. The two figures at the bottom of the work give the view scale and underscore the vastness of the Atlas.
Majorelle first discovered and painted the Atlas’s kasbahs in 1921. Nestled in the steep-sided valleys of the otherwise remote landscape, these terraced mountain villages had remained closed to westerners. Their simple geometric arrangement appealed to Majorelle's penchant for precise and rigorous drawing and eye for design acquired as a boy in his father's furniture-making workshop and whilst studying architecture as part of his artistic training in Nancy.
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