Sunday, November 8, 2015

14 Paintings, Art for today, Impressionist & Modern Art, Marc Chagall, Henri de Toulouse-Lautrec, Pablo Picasso, Pierre Bonnard,

Marc Chagall 1887 - 1985 L'HOMME AU PARAPLUIE Signed Marc Chagall (lower left) Gouache on paper 26 by 20 in. 66.3 by 51 cm Executed in 1927-28.:
L'HOMME AU PARAPLUIE
Signed Marc Chagall (lower left)
Gouache on paper
26 by 20 in.
66.3 by 51 cm
Executed in 1927-28.

Executed in 1927-28, L’Homme au parapluie is an important early example of Chagall’s lifelong fascination with the pageantry of the circus. Chagall first developed an interest in this theme during his formative years in Vitebsk, and later in Paris, where he frequently attended performances at the Cirque d’Hiver Bouglione in the company of Ambroise Vollard. More

Marc Chagall 1887 - 1985 LE VIOLONISTE Signed Chagall (lower left) Gouache, India ink and charcoal on paper 19 1/4 by 25 1/4 in. 49.5 by 65 cm Executed in 1926-27.:
LE VIOLONISTE
Signed Chagall (lower left)
Gouache, India ink and charcoal on paper
19 1/4 by 25 1/4 in.
49.5 by 65 cm
Executed in 1926-27.

Although this picture is specifically concerned with the musician, Chagall's pictorial characters had many levels of significance.  To him, they represented the many faces of man's emotional character, both fun-loving and tragic.  He once wrote, "I have always considered the clowns, acrobats, and actors as being tragically human who, for me, would resemble characters from certain religious paintings. More

Marc Chagall 1887 - 1985 LA MÈRE ET L'ENFANT Signed Chagall and dated 1947-51 (lower right); signed Marc Chagall and dated 1947-51 on the reverse Oil on canvas 36 1/4 by 28 3/4 in. 92 by 73 cm Painted in 1947-51.:
LA MÈRE ET L'ENFANT
Signed Chagall and dated 1947-51 (lower right); signed Marc Chagall and dated 1947-51 on the reverse
Oil on canvas
36 1/4 by 28 3/4 in.
92 by 73 cm
Painted in 1947-51. 

Painted in the late 1940s, La Mère et l’enfant embodies the new optimism and hope that characterizes Chagall’s work from this important period of transition. Having initially struggled to adapt to life in the United States, Chagall had achieved great success there, culminating in the 1946 retrospective at The Museum of Modern Art in New York. By this time he was also slowly beginning to recover from the tragedy of Bella’s death in 1944, and had begun a relationship with Virginia Haggard McNeil with whom he would father a son. More

Henri de Toulouse-Lautrec 1864 - 1901 À ARMENONVILLE, EN CABINET PARTICULIER Signed with the monogram TL (upper left) Peinture à l'essence on board 26 3/8 by 20 1/2 in. 67 by 52.2 cm Painted in 1899:
À ARMENONVILLE, EN CABINET PARTICULIER
Signed with the monogram TL (upper left)
Peinture à l'essence on board
26 3/8 by 20 1/2 in.
67 by 52.2 cm
Painted in 1899.

Armenonville, en cabinet particulier, 1899, belongs to the great series of voyeuristic depictions of intimate encounters that fascinated Toulouse-Lautrec throughout 1890s.  While many of these scenes took place in brothels, the artist also depicted these heated scenarios as they played out in theater boxes, cafés, and other spaces of social engagement.  A brilliant interpreter of his time, Lautrec focused his attention on the game of pursuit that lead to sexual confrontation. More

Pablo Picasso 1881 - 1973 NU AUX JAMBES CROISÉES Signed Picasso and dated 1903 (upper left) Pastel and black crayon on paper 22 1/2 by 18 in. 57.5 by 45.8 cm Painted in 1903.:
NU AUX JAMBES CROISÉES
Signed Picasso and dated 1903 (upper left)
Pastel and black crayon on paper
22 1/2 by 18 in.
57.5 by 45.8 cm
Painted in 1903.

Picasso created this stunning pastel nude in Barcelona in 1903.  The year marked the apotheosis of Picasso’s celebrated Blue period (late 1901-1904), and the present work is imbued with a sense of fragility and melancholy that was to become synonymous with this phase of his career.  The pictures of the Blue period are often characterized by poignant images of forlorn women and despondent men, often isolated and lost in thought. More

Pablo Picasso 1881 - 1973 VIOLON Oil, sand and charcoal on canvas 21 5/8 by 17 in. 55 by 43.2 cm Painted in autumn-winter 1912.:
VIOLON
Oil, sand and charcoal on canvas
21 5/8 by 17 in.
55 by 43.2 cm
Painted in autumn-winter 1912.

Painted in 1912, Violon belongs to an immensely important period of artistic development for Picasso which saw the beginning of his shift from analytic to synthetic cubism. Using the motif of a guitar – or as in the present painting, a violin – Picasso embarked on a series of works in which he developed the cubist idiom of the previous decade, exploring a range of materials from the cut paper and newspaper of his papiers collés to the sand of Violon and the thick cardboard of his cutouts. More

Pablo Picasso 1881 - 1973 VUE D'UNE FENÊTRE Dated 2 Mai XXIX (on the reverse) Oil on canvas 51 1/8 by 76 7/8 in. 130 by 195 cm Painted on May 2, 1929:
VUE D'UNE FENÊTRE
Dated 2 Mai XXIX (on the reverse)
Oil on canvas
51 1/8 by 76 7/8 in.
130 by 195 cm
Painted on May 2, 1929.

With its powerful grisaille palette and extraordinary attention to spatial perspective, this composition of the artist's studio-sanctuary is one of Picasso's rare forays into architectural subject matter.  The picture dates from the beginning of May 1929 and has select stylistic precedents in his oeuvre.  More

Pablo Picasso 1881 - 1973 LA FEMME AU TAMBOURIN  Aquatint with grattoir, 1939, Baer’s fifth (final) state, signed in pencil, numbered 8/30, published by Galerie Louise Leiris, Paris, in 1943, on Arches wove paper, framed Plate: 26 1/4 by 20 1/4 in. 66.6 by 51.3 cm Sheet: 30 1/8 by 22 1/2 in. 76.5 by 57 cm Conceived in 1939 and printed in 1943.:
LA FEMME AU TAMBOURIN 
Aquatint with grattoir, 1939, Baer’s fifth (final) state, signed in pencil, numbered 8/30, published by Galerie Louise Leiris, Paris, in 1943, on Arches wove paper, framed
Plate: 26 1/4 by 20 1/4 in. 66.6 by 51.3 cm
Sheet: 30 1/8 by 22 1/2 in. 76.5 by 57 cm
Conceived in 1939 and printed in 1943.

Picasso conceived this striking portrait of Dora Maar when Europe was on the brink of war in 1939.  With images of the Spanish Civil war still fresh in his memory, the subject of a nation at peril seemed too overwhelming for him to face yet again.  Instead, he turned his attention to his immediate environment, featuring still-lifes constructed from the contents of his studio and many portraits of his lover, Dora Maar. More

Pablo Picasso 1881 - 1973 LA GOMMEUSE Signed Picasso (upper left); inscribed Recuerdo a Mañach en el día de su santo and fully painted on the reverse Oil on canvas 31 7/8 by 21 1/4 in. 81.3 by 54 cm Painted in Paris in 1901.:
LA GOMMEUSE
Signed Picasso (upper left); inscribed Recuerdo a Mañach en el día de su santo and fully painted on the reverse
Oil on canvas
31 7/8 by 21 1/4 in.
81.3 by 54 cm
Painted in Paris in 1901.

Picasso's extraordinary La Gommeuse is among the rare and coveted pictures created during the artist's Blue Period (1901-1904). The painting dates from the second half of 1901, following Picasso's widely-praised exhibition at Vollard's gallery that June and amidst the sobering aftermath of his friend Casagemas' suicide earlier in the year. More

Pablo Picasso 1881 - 1973 NU, LES BRAS CROISÉS Dated 13.2.60 & 18.2.60 on the reverse Oil on canvas 39 3/8 by 31 7/8 in. 100 by 81 cm Painted on February 18, 1960.:
NU, LES BRAS CROISÉS
Dated 13.2.60 & 18.2.60 on the reverse
Oil on canvas
39 3/8 by 31 7/8 in.
100 by 81 cm
Painted on February 18, 1960.

The woman featured in this striking painting is Jacqueline Roque, Picasso's devoted second wife who remained with him until the time of his death in 1973. Picasso's renderings of Jacqueline constitute the largest group of images of any of the women in his life. More

Pablo Picasso 1881 - 1973 FEMME DANS UN FAUTEUIL Signed Picasso and dated XXIX (lower right) Oil on canvas 32 by 20 in. 81.2 by 58 cm Painted on March 2, 1929.:
FEMME DANS UN FAUTEUIL
Signed Picasso and dated XXIX (lower right)
Oil on canvas
32 by 20 in.
81.2 by 58 cm
Painted on March 2, 1929

One of the most loaded images of Picasso's Surrealist production is his terrifyingly fantastic depiction of his wife, Olga, abstracted beyond the point of recognition.  Femme dans un fauteuil is among Picasso's most memorable pictures from 1929, as it is emblematic of both the personal and professional forces at play that year.  Olga had spent the first weeks of 1929 in a clinic recovering from a haemorrhaging condition, and now reemerged in Picasso's daily life. More

Pablo Picasso 1881 - 1973 FEMME ENDORMIE Signed Picasso (lower right), dated Boisgeloup 28 juin XXXIII (lower left) & dedicated Pour Bibi Souvenir Souvenirs (upper right) Oil on canvas 4 by 8 in. 10 by 18 cm Painted in 1933.:
FEMME ENDORMIE
Signed Picasso (lower right), dated Boisgeloup 28 juin XXXIII (lower left) & dedicated Pour Bibi Souvenir Souvenirs (upper right)
Oil on canvas
4 by 8 in.
10 by 18 cm
Painted in 1933

A recumbent Marie-Thérèse is the subject of this intimate canvas from 1933.   This theme dominated the artist's most successful pictures of the 1930s, when he was swept up in a romance with a much younger woman who satisfied his every physical desire.  In paintings, sculpture, etchings and drawings Picasso celebrated his lover's body, even sharing her form with his friends in his art. More

Pierre Bonnard 1867 - 1947 NU S'HABILLANT Signed Bonnard (lower left) Oil on canvas 29 by 17 3/4 in. 74 by 45 cm Painted in 1925:
NU S'HABILLANT
Signed Bonnard (lower left)
Oil on canvas
29 by 17 3/4 in.
74 by 45 cm
Painted in 1925.

Painted in luminous yellows, blues and pinks, the present work is one of Bonnard’s major nudes. Bonnard’s paintings of the female nude are the most renowned within his oeuvre. The primary model for these canvases was the eccentric Marthe de Meligny, a young woman of elusive origin whom Bonnard met in Paris in 1893 and would become his wife in 1925. More

Pierre Bonnard 1867 - 1947 LES COQUELICOTS Signed Bonnard (lower left)  Oil on canvas 27 3/4 by 22 7/8 in. 70.5 by 58 cm Painted circa 1914-15.:
LES COQUELICOTS
Signed Bonnard (lower left)
Oil on canvas
27 3/4 by 22 7/8 in.
70.5 by 58 cm
Painted circa 1914-15.

Les Coquelicots belongs to a group of Bonnard’s still lifes featuring the white vase with a cherry motif, often filled with a bouquet of flowers. The vibrancy of his palette and the richness and spontaneous arrangement of the flowers in this work represent a lively and colorful celebration of nature. Discussing this subject matter, Bonnard revealed to a friend in 1943: "I often see interesting things to paint around me, but for me to have the desire to paint them, they must have a special seduction – beauty – what one could call beauty. More