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GEORGES ROUAULT (1871-1958) Solange, 1935-1939
Oil on paper …
See original version (French)
90
-
GEORGES ROUAULT (1871-1958) Solange, 1935-1939
Oil on paper …
See original version (French)
Estimate €20,000 - €30,000
Voluntary lot
Description
GEORGES ROUAULT (1871-1958)
Solange, 1935-1939
Oil on paper laid down on canvas
Unsigned
Stamped 'Atelier de/Georges Rouault' [not Lugt] and annotated 'Isabelle Rouault' on the back
28 x 17,5 cm - 11 x 6 7/8 in.
Oil on paper laid on canvas, unsigned, stamped with the 'Atelier de/Georges Rouault' mark and inscribed 'Isabelle Rouault' on the reverse
Provenance :
Artist's family, France
Bibliography :
Olivier Nouaille and Olivier Rouault [catalogue compiled by], Rouault, L'œuvre peint, Tome III, Paris: Fondation Georges Rouault, 2021, described and reproduced under reference 2791, p. 183
Georges Rouault, Visages, Dix études de l'atelier reproduites en fac-similes, Paris: Daniel Jacomet et L'étoile filante, 1969, reproduced by the Jacomet process under no. 1
Exhibition(s) :
Painters of Passion, Adventures in Color by Kandinsky, Rouault, and Their Contemporaries, Tokyo, Panasonic Shiodome Museum of Art, 17 October-20 December 2017, n°76
Georges Rouault and the Expressionists, Painters of Passion, Miyagi, The Miyagi Museum of Art, 12 August-9 October 2017, no. unknown
Georges Rouault, Geneva, Interart Galerie, 30 April-2 July 2010, no. unknown
Retrospective Georges Rouault (1871-1958), in French and foreign private collections, paintings and works on paper, Paris, Galerie Schmit, 16 April-4 July 2008 (resumed 10 September-15 December 2008), no. unknown
Rouault, the painter who kept his spiritual liberty, Daejeon, Daejeon Museum of Art, 4 May-27 August 2006, no. unknown
Notice :
"The Abandonment of Girls and Bestiary
The scarcity of Types and, even more so, of Juges, to these two facts are added two even more radical abandonments: that of the Filles vein and that of the Bestiaire fantastique. After 1930, Rouault completely abandoned these two sources of inspiration.
"And feminine grace itself emerged under his fingers" (Raïssa Maritain).
Could it be said that he replaced girls with young girls? Some of the old artist's most moving creations between 1930 and 1950 depict female figures reduced to the head or seen in bust form, from the front or, more rarely, in profile, among which we cannot fail to mention some of his major creations of the period: the Spanish figure entitled The Thousand and One Nights from 1942 (fig. 2288), the enigmatic Sibyl of Cumae from 1947 (fig. 2293), where the presentation of the model in profile, the gesture of her finger which seems to be pointing to a flower, her eyes lowered into an orbit of intense black, and the general colouring dominated by glaucous and mysterious greens, all make this figure a strange and appropriate expression of the famous Sibyl who had inspired Virgil and so many medieval artists before Michelangelo. While the Sibyl of Cumae is painted in disquieting greens, Veronica (fig. 2286) is painted in very soft blues that all the more express hope. Face on, her eyes wide open, her head covered with a veil decorated with a cross, her lips half-open, her air melancholy and gentle, she is, along with the contemporary Saint Martha (fig. 2284), one of Rouault's most famous saintly figures. In it he recaptures the spirit of Gothic art, where the highest spirituality is combined with a kind of familiarity and everyday truth. Note how this figure of a saint is the culmination of the poetic profane figures that Rouault had multiplied from 1935 onwards. One of them was called Véronique. The cross on the veil, a more recollected expression, the majesty born of the framing of the head by a semicircular arch also used for Christ figures: nothing more is needed to immediately reach the most authentic spirituality. This success, which inspired Rouault to create one of his best-known stained-glass windows in the church on the Plateau d'Assy in Haute-Savoie, is perhaps surpassed even further by the contemporary Sainte Marthe. The layout of the frame and the nudity of the background only enhance the face, which is slightly tilted to give it a familiarity not found to the same degree in the Veronique. The more nuanced, softer chromatic harmony enhances the impression of charm given off by this figure".
Bernard Dorival, Rouault, L'œuvre peint, Tome II, Monte Carlo: Éditions André Sauret, 1988, pp. 13-14
See original version (French)
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