Catalogue
Premium 25. CONSTANTINOS MALEAS (1879-1928)
Porte d'Alexandre
signé …
25. CONSTANTINOS MALEAS (1879-1928)
Porte d'Alexandre
signé …
Lot 25
Description
25. CONSTANTINOS MALEAS (1879-1928)
Porte d'Alexandre
signé en grec (en bas à gauche)
huile sur carton dur
55 x 50 cm. (21.65 x 19.69 in.)
Peint en 1923
Oil on hard cardboard
Provenance
D. Logothetis collection, Athens.
Christie's Athens Greek Sale of 24 May 2000, lot 89.
Private collection Athens.
Exhibitions
Possibly included in the following shows:
Athens, Zappeion Hall, C. Maleas exhibition, December 1924.
Athens, Stratigopoulou gallery, group exhibition, November 1925.
Volos, Art Lovers Association, C. Maleas retrospective exhibition, June 1-15. 1926.
Munich, Paulus gallery, C. Maleas exhibition, May 1927.
Athens, Zappeion Hall, C. Maleas retrospective exhibition, December 1928.
Athens, Studio gallery, Exhibition of Works by the Late C. Maleas, February 1-28, 1935.
Athens, Parnassos Literary Society Hall, Exhibition of Works by the Late C. Maleas, November 24 - December 12, 1938.
Literature
Eleftheron Vima newspaper, January 1, 1924.
Eleftheron Vima newspaper, November 11, 1925.
A. Kotidis, The Painter C. Maleas (1879-1928), doctoral dissertation, Thessaloniki 1982, no. 188, p. 149 (mentioned), p. 277 (catalogued), fig. 6.38 (illustrated).
A. Kotidis, Constantinos Maleas (1879-1928), Adam editions, Athens 2000, no. 250, p. 201 (mentioned), p. 346 (catalogued).
The paintings Maleas produced during his second extended trip to the Orient in the early 1920s conclude an artistic quest which essentially began there in the early 1910s. In this second Oriental journey, Maleas moved towards new compositional conceptions. He handled volume with bolder outlines and, while strengthening colour and light, his brushwork became more uniform, abandoning his earlier more textured style. His architectural studies helped him fully comprehend the teachings of Cezanne, who had exhorted painters to look for solidity beneath the surface patterns and treat their subjects in terms of primary geometric forms to discover their enduring character and essential content.
Following in the steps of the French master, Maleas wished to show the natural and man-made environment not only as coloured patterns of light that would have satisfied an impressionist eye, but also to communicate his perception of their volume, mass and solidity. Similarly, as is so evident in Porte d' Alexandre, he endeavoured to transcend impressionism in the rendering of space, suggesting recession into depth not by diminution of tonal contrast but through a wise arrangement of form in a sequence of planes.
Although the mystery and allure of Egypt's age-old civilization deeply fascinated Maleas, his Porte d' Alexandre is not imbued by a melancholy pining for antiquity. There are no picturesque or evocative details, no scaffage themes or narrative elements, no dramatic, romanticised views threatened by dark and stormy skies. It is the everlasting structure and powerful force of the monument rather than its exotic appeal that intrigued the artist.
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