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AGUTTES
84
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AUGUSTE HERBIN (1882-1960) Roses, 1922
Oil on canvas
Signed …
See original version (French)
84
-
AUGUSTE HERBIN (1882-1960) Roses, 1922
Oil on canvas
Signed …
See original version (French)
Estimate €25,000 - €35,000
Voluntary lot
Description
AUGUSTE HERBIN (1882-1960)
Roses, 1922
Oil on canvas
Signed lower right
65 x 50 cm - 25 5/8 x 19 3/4 in.
Oil on canvas, signed lower right
Provenance :
Galerie L'Effort Moderne (Léonce Rosenberg), Paris, n°475
Sale, Modern Prints, Drawings, Watercolours, Gouaches, Pastels, Paintings, SCP Boscher-Gossart, Paris, Hôtel Drouot, 2 July 1980, lot 75
Private collection, France (acquired at previous sale and by descent)
Bibliography :
Geneviève Claisse, Herbin, Catalogue raisonné de l'œuvre peint, Lausanne: Les Éditions du Grand-Pont; Paris: La Bibliothèque des Arts, 1993, described and reproduced under no. 464, p. 361
Anatole Jakowski, Auguste Herbin, Paris: Éditons Abstraction-Création, 1933, p. 43
Notice:
" 1922
At the end of a faultless career that had taken him from cubism to geometric abstraction, Herbin was a solitary painter. Collectors ignored him, institutions rejected him and critics cited him only to disparage him. In issues 11-12 of the review L'esprit nouveau, Maurice Raynal commented on the Fauteuil made in 1920: "We don't look at painting with our backsides, unless Mr Jules Romains' experiments with vision through the skin are also working there.
Herbin was forty years old and wondering whether he had reached a dead end. It was then that he decided to recharge his batteries. He applied himself like an invalid undergoing rehabilitation. Throughout 1922, he painted three pictures a month, moving from one style to another, in search of a new figuration. Four landscapes painted in Paris are meticulous, cold architectures. A stay in the Loue valley enabled him to rediscover old reflexes, rhythms, a free and sensitive touch and the joy of colour.
The series of six portraits he painted during the year reflect the same uncertainty.
Three are Cubist in spirit (notably Mme H. in the blue dress), while the two portraits of the young girl with the long hair return to a classical mode of expression.
The disarray is also revealed in some fourteen still lifes. Some are purist compositions in the same vein as Nature morte au compotier. These include: Basket of Fruit, Still Life with White Pot, Still Life with Cauliflowers. Others, more numerous, are realistic works (several floral compositions and two still lifes Poissons, Scorsonères).
Geneviève Claisse, Herbin, Catalogue raisonné de l'œuvre peint, Lausanne: Les Éditions du Grand-Pont; Paris: La Bibliothèque des Arts, 1993, p. 101.
***
"In 1922, and over the following years, Herbin would adopt a cold realism, with a particularly dry style, which he applied to the treatment of traditional genres, landscapes, still lifes and figures. Although Herbin did not follow the same path as Piet Mondrian or Walter Dexel, with whom his development had hitherto had many points in common, and although he participated in his own way in the "Return to Order", which prevailed in a certain section of Western art, Herbin nonetheless appeared to be out of step with Picasso, Derain, Gris, La Fresnaye, Carrà and Severini, who were at the origin of this movement.
However, Herbin would also go a long way in this direction, when his paintings found the same range and expressed the same sensitivity as those of Othon Friesz or André Dunoyer de Segonzac (Sentier sur la colline Sainte-Croix à Cassis) or when he pushed the return to figuration to the point of stiffness (Joueurs de boule, 1923) and sometimes even naivety (Jeune fille aux fleurs, 1924)."
Serge Lemoine, "Preface" in. Geneviève Claisse, Herbin, Catalogue raisonné de l'œuvre peint, Lausanne: Les Éditions du Grand-Pont; Paris: La Bibliothèque des Arts, 1993, p. 12.
See original version (French)
Auto-translation. Refer to original language for legal validity.
Pictures credits: Contact the Auction House
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