Maison de Clamart, 1918-1919. Huile sur toile 60 x 73 cm (23 x 28 in.). Signé en bas à droite Provenance: Collection galerie Mouradian-Vallotton, Paris Collection privéen Aix-en-Provence, France Vendu 6 avril 1954, Galerie Charpentier, Paris Collection privée, France Vente: Sotheby's Pars, 8 décembre 2010, lot,34 Collection privée, Suisse Bibliographie: Pierre Courthion, "soutine" peintre du déchirant, 1972 p. 187 (illustré) Exposition: Biennale di Venezia, Venise, 1952 (n°21, titré "paysages de Cacnes" Maison de Clamart, 1918-19 oil on canvas 60 x 73 cm (23 x 28 in.) signed lower right PROVENANCE: Collection Galerie Mouradian- Vallotton, Paris Private collection, Aix- en Provence, France Sold 6 April 1954, Galerie Charpentier, Paris. Private collection, France Sale: Sotheby's Paris, 8 December, 2010, Lot 34 Private collection, Switzerland LITERATURE: Pierre Courthion,?Soutine' peintre du dechirant, 1972 p.187 plate D (illustrated) EXHIBITED: Biennale di Venezia, Venise, 1952 (n. 21, titled ?Paysage de Cagnes'.) Executed between 1918 and 1919, Chaim Soutine's Maison de Clamart is one of the artist's earliest known landscapes, already embodying the passionate style and vigorous brushwork that would become characteristic of his oeuvre. Painted during one of his frequent visits to the Parisian suburb, Soutine captures the scene with a powerful naturalism that confronts both the materiality of the world and the forces that govern it. Though Maison de Clamart is structured and maintains some gestures of realism, the heavy impasto, infrequent use of the line, and diverse tonal palette convey the fragility of life that would haunt Soutine's work throughout his career. The white and red house that occupies the physical center of the painting, the only suggestion of human life in the landscape, is dominated by the writing vegetation that envelops it; the twisting foliage, trunks, tall grasses, and clusters of bushes that overcrowd the foreground and background become the true subject of the work. Moving across the canvas, from right to left, the world appears disrupted and uprooted, as though it could be swept away with a single stroke. What remains a bit unclear is Soutine's relationship to the amplified sense of anxiety that permeates the work. The quivering concentrations of green articulate unease, while the house remains untouched, as if protectively shrouded in the landscape. The tension between instability and safety is a problem that the artist would continue to work out throughout his practice and perhaps conveys his sense of comfort in the countryside. Painted just five years after moving to Paris from a small Jewish ghetto near Minsk, Soutine's Maison de Clamart reflects his deep admiration of Cézanne's artistic technique and principles as well as the artist's ongoing influence from Modigliani, with whom he shared a studio for many years. In Maison de Clarmart, Soutine flattens and crops the pictorial plane, fusing form and color, nature and man into a single unit. While the artist painted copious portraits and still lives over the course of his career, it was, above all, through landscapes that he most fulfilled himself. Soutine's landscapes also captured the eye of the art world, particularly in 1923 when the great American collector Albert Barnes took notice of Soutine's work. Through tireless collecting and promotion, Barnes ensured Soutine's place in the art world's major collections, including the Metropolitan Museum, Norton Simon Museum, and Tate Gallery. Most notable though is Soutine's profound influence on his peers and his legacy left to later artists, such as Francis Bacon Philip Guston and Jean Dubuffet Soutine's commanding brushwork and masterful use of pigment, exemplified by Maison de Clamart, liberated the avant-garde from the constraints of Cubism and was a central figure for later gestural painters, including Willem de Kooning and Jackson Pollock Jodi Waynberg (
Maison de Clamart, 1918-1919. Huile sur toile 60 x 73 cm (23 x 28 in.). Signé en bas à droite Provenance: Collection galerie Mouradian-Vallotton, Paris Collection privéen Aix-en-Provence, France Vendu 6 avril 1954, Galerie Charpentier, Paris Collection privée, France Vente: Sotheby's Pars, 8 décembre 2010, lot,34 Collection privée, Suisse Bibliographie: Pierre Courthion, "soutine" peintre du déchirant, 1972 p. 187 (illustré) Exposition: Biennale di Venezia, Venise, 1952 (n°21, titré "paysages de Cacnes" Maison de Clamart, 1918-19 oil on canvas 60 x 73 cm (23 x 28 in.) signed lower right PROVENANCE: Collection Galerie Mouradian- Vallotton, Paris Private collection, Aix- en Provence, France Sold 6 April 1954, Galerie Charpentier, Paris. Private collection, France Sale: Sotheby's Paris, 8 December, 2010, Lot 34 Private collection, Switzerland LITERATURE: Pierre Courthion,?Soutine' peintre du dechirant, 1972 p.187 plate D (illustrated) EXHIBITED: Biennale di Venezia, Venise, 1952 (n. 21, titled ?Paysage de Cagnes'.) Executed between 1918 and 1919, Chaim Soutine's Maison de Clamart is one of the artist's earliest known landscapes, already embodying the passionate style and vigorous brushwork that would become characteristic of his oeuvre. Painted during one of his frequent visits to the Parisian suburb, Soutine captures the scene with a powerful naturalism that confronts both the materiality of the world and the forces that govern it. Though Maison de Clamart is structured and maintains some gestures of realism, the heavy impasto, infrequent use of the line, and diverse tonal palette convey the fragility of life that would haunt Soutine's work throughout his career. The white and red house that occupies the physical center of the painting, the only suggestion of human life in the landscape, is dominated by the writing vegetation that envelops it; the twisting foliage, trunks, tall grasses, and clusters of bushes that overcrowd the foreground and background become the true subject of the work. Moving across the canvas, from right to left, the world appears disrupted and uprooted, as though it could be swept away with a single stroke. What remains a bit unclear is Soutine's relationship to the amplified sense of anxiety that permeates the work. The quivering concentrations of green articulate unease, while the house remains untouched, as if protectively shrouded in the landscape. The tension between instability and safety is a problem that the artist would continue to work out throughout his practice and perhaps conveys his sense of comfort in the countryside. Painted just five years after moving to Paris from a small Jewish ghetto near Minsk, Soutine's Maison de Clamart reflects his deep admiration of Cézanne's artistic technique and principles as well as the artist's ongoing influence from Modigliani, with whom he shared a studio for many years. In Maison de Clarmart, Soutine flattens and crops the pictorial plane, fusing form and color, nature and man into a single unit. While the artist painted copious portraits and still lives over the course of his career, it was, above all, through landscapes that he most fulfilled himself. Soutine's landscapes also captured the eye of the art world, particularly in 1923 when the great American collector Albert Barnes took notice of Soutine's work. Through tireless collecting and promotion, Barnes ensured Soutine's place in the art world's major collections, including the Metropolitan Museum, Norton Simon Museum, and Tate Gallery. Most notable though is Soutine's profound influence on his peers and his legacy left to later artists, such as Francis Bacon Philip Guston and Jean Dubuffet Soutine's commanding brushwork and masterful use of pigment, exemplified by Maison de Clamart, liberated the avant-garde from the constraints of Cubism and was a central figure for later gestural painters, including Willem de Kooning and Jackson Pollock Jodi Waynberg (
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