Frédéric Bazille

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France ( 1841 - 1870 ) - Artworks Wikipedia® - Frédéric Bazille

Auction House:
Sotheby's / May 5, 2004
Estimate:€3,298,697.01 - €4,948,045.52
Price:€4,417,544.15

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William Blake, Theodore Gericault, Alfred De Dreux, Edgar Degas, Edouard Manet, Claude Monet, Georges Braque

Artworks in Arcadja

Some works of Frédéric Bazille

Extracted between 25 works in the catalog of Arcadja

Frédéric Bazille - Portrait D'un Dragon

Original 1869

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Price:

Auction: Aguttes - Oct 24, 2012- Paris

Lot number: 14
Other WORKS AT AUCTIONDescription:

Frédéric BAZILLE (1841-1870) Portrait d'un dragon, 1869 Huile sur toile 56 x 46.5 cm - 22 x 181/4 in. Oil on canvas Provenance : Collection Edmond Maître, ParisCollection Bing, Paris Collection F.H Lem, Paris, Collection privée, France Ce tableau peut être rapproché du Portrait d'Alphone Tissié peint en 1869, exposé à ses côtés en 1978 à l'Art Instituteof Chicago et alors prêté par le Musée Fabre à Montpellier. Bibliographie : Catalogue raisonné de Michel Schulman Frédéric Bazille 1995, reproduit sous le n°52 page 195Catalogue raisonné de François Daulte Frédéric Baziile 1992, reproduit sous le n°43 et illustration en couleur pleine page Frédéric BAZILLE and the early impressionism, The art Institute of Chicago 4 mars -30 avril 1978, illustré sous le n°40 pages 88-89 Exposition :Frédéric BAZILLE and the early impressionism, The art Institute of Chicago 4 mars -30 avril 1978, n°40

Frédéric Bazille - L'homme Au Cigare Or Portrait De Zacharie Astruc

Original 1869

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Auction: Sotheby's - Nov 3, 2010- New York

Lot number: 138
Other WORKS AT AUCTIONDescription:

LOT 138 FRÉDÉRIC BAZILLE 1841 - 1870 L'HOMME AU CIGARE OR PORTRAIT DE ZACHARIE ASTRUC 140,000—180,000 USD measurements measurements 22 by 18 1/4 in. alternate measurements 56 by 46.5 cm Painted in 1869. Oil on canvas PROVENANCE Family of the artistPrivate Collection EXHIBITED Paris, Galerie Wildenstein, Frédéric Bazille, 1950, no. 39Montpellier, Musée Fabre, Frédéric Bazille, 1959, no. 27Marseille, Musée Cantini, Le Portrait en provence, 1961, no.2The Art Institute of Chicago, Frédéric Bazille and EarlyImpressionism, 1978, no. 49Montpellier, Musée Fabre, Frédéric Bazille, 1984 LITERATURE AND REFERENCES Gabrielle Sarraute, Catalogue de l'Oeuvre de Frédéric Bazille,Paris, 1948, no. 48François Daulte, Frédéric Bazille et son temps, Geneva, 1952, no.46, illustrated p. 185John Rewald, Histoire de l'impressionnisme, Paris, 1973, p.116François Daulte, Frédéric Bazille et les débuts del'impressionnisme, Paris, 1992, no. 51, illustrated p. 63&176Michel Schulman, Frédéric Bazille, Catalogue raisonné, Paris, 1995,no. 53, illustrated p. 196 CATALOGUE NOTE In the present work, Frédéric Bazille depicts his friendZacharie Astruc, an important figure in the cultural life of Francein the second half of the 19th century who, like Bazille, played alarge role in the formative years of the group that would later beknown as the Impressionists. A writer, critic and artist himself,Zacharie Astruc participated in the first Impressionist exhibitionof 1874 along with Bazille and Manet. Astruc was the first writer,before Zola and even Baudelaire, to champion the art of Manet andhis followers. The early impressionist painters acknowledged hisrole by including his portrait in works as seminal as Manet'sMusique aux Tuileries and, later, seated in the centre ofthe group as Manet paints his portrait in Henri Fantin-Latour'sL'Atelier des Batignolles of 1870 (see fig. 1). The groupportrayed in Fantin-Latour's painting includes Monet, Renoir, Zola,Manet and Bazille himself. The composition and coloring of this work exhibit the typicalstyle of Bazille's portraits. It moves beyond traditional ideasabout perspective, balance, and symmetry, with bold brush strokesand unrefined aspects, such as Astruc's right hand, which presagethe iconic style of the Impressionists. Bazille uses muted tonespunctuated by touches of bright color, seen here in Astruc's somberclothes and a monochrome background highlighted by the flushed faceof the sitter. François Daulte comments on this aspect of Bazille'sstyle of portraiture: "This manner of painting gives rise to workswhose sober harmonies are immediately striking, bursting with rarenotes. Each one has an atmosphere, a dominant tonality, which isparticular to itself. ... it is the dark, black clothes of ZacharieAstruc which accentuate the yellow hues of his face, his hands andthe velvet of the armchair" (François Daulte, Frédéric Bazilleet les débuts de l'impressionisme , Paris, 1992, p. 134,translated from the French). Fig. 1 Henri Fantin-Latour, A Studio in the BatignollesDistrict, 1870, oil on canvas, Paris, Musée d'Orsay

Frédéric Bazille - Jeune Fille Aux Yeux Baissés

Original

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Auction: Sotheby's - Jun 20, 2007- London

Lot number: 414
Other WORKS AT AUCTIONDescription:

FRÉDÉRIC BAZILLE (1841-1870) - JEUNE FILLE AUX YEUX BAISSÉS - PROPERTY FROM A CORPORATE COLLECTION
Mis: 46.2 by 38.2cm., 18 1/4 by 15 1/8 in.
Painted in 1868. signed F. Bazille (centre right) oil on canvas

PROVENANCE
Family of the artist André Bazille, Montpellier Mme Rachou-Bazille, Montpellier Private Collection Acquired from the above by the present owner in February 1989

EXHIBITED
Paris, Association des Etudiants Protestants, 1935, no. 7, illustrated in the catalogue Montpellier, Musée Fabre, Centenaire de Bazille, 1941, no. 26 Paris, Galerie Wildenstein, 1950, no. 29 Montpellier, Musée Fabre, 1959, no. 18 Nice, Galerie des Ponchettes, Le Second Empire, 1960, no. 103 Chicago, The Art Institute of Chicago, Frédéric Bazille and Early Impressionism, 1978, no. 48, illustrated in the catalogue Brooklyn, The Brooklyn Museum & Memphis, Dixon Gallery & Gardens, Frédéric Bazille: Prophet of Impressionism, 1992-93, no. 17

REFERENCES
Gaston Poulain, Bazille et ses amis, Paris, 1932, no. 30 François Daulte, Frédéric Bazille et son temps, Geneva, 1952, no. 40, illustrated n.p. François Daulte, Frédéric Bazille et les débuts de l'impressionnisme. Catalogue raisonné de l'?uvre peint, Paris, 1992, no. 44, illustrated pp. 144 & 172 (as dating from 1868) Michel Schulman, Frédéric Bazille 1841-1870, Catalogue raisonné, Peintures, dessins, pastels, aquarelles, Paris, 1995, no. 42, illustrated p. 175

CATALOGUE NOTE
The enigmatic Jeune Femme aux Yeux Baissés was painted circa 1868, whilst Bazille was sharing a small artist's studio in rue Visconti with Renoir. There was a real intimacy at this time between the artists, who both painted portraits of one another in 1866 (fig. 1). A letter home to his parents records the arrival of his fellow artist; "I've extended my hospitality to one of my friends, a former student of Gleyre's, who lacks a studio at the moment. Renoir, that's his name, is a real worker, he takes advantage of my models and helps me pay for them" (quoted in Frédéric Bazille, Prophet of Impressionism (exhibition catalogue), Brooklyn Museum of Art, Brooklyn & Dixon Gallery, Memphis, 1992-93, p. 38). This work illustrates this cooperative relationship in practice, as the young model bears a distinct similarity to Renoir's Diana (Fig 2.), which was painted during the same period. In the work itself, Bazille focuses his attention on the play of light on the face, bust and dress of the young woman. The awkward simplicity in the posture of the woman is clearly reminiscent of Manet, the artist to whom the young painter was most often compared. Both artists sort to refresh the painting of the past, and this work blends academic techniques with modern tonal harmonies in a way that prefigures later developments in Impressionism. COMP: 428D07008_COMP Pierre-Auguste Renoir, Bazille au chevalet, 1867, oil on canvas, Musée d'Orsay, Paris COMP: 427D07008_COMP Fig. 2, Pierre-Auguste Renoir, Diana Chasseresse, 1867, oil on canvas, National Gallery of Art, Washington

Frédéric Bazille - Pots De Fleurs

Original

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Auction: Sotheby's - May 5, 2004- New York

Lot number: 17
Other WORKS AT AUCTIONDescription:

provenance commandant and mme hippolyte lejosne, paris (acquired from the artist circa 1868) the lejosne family, pau (by descent from the above and until at least circa 1952) dr. f. shöni, zürich (acquired from the above) mr. and mrs. john hay whitney (acquired from the above on october 27, 1960) exhibited paris, palais de l’’industrie, salon de 1868, 1868, no. 147 (titled étude de fleurs) paris, galerie wildenstein, bazille, 1950, no. 21 (titled etude de fleurs) paris, musée jacquemart-andré, le second empire, 1957, no. 6 (titled fleurs) london, the tate gallery, the john hay whitney collection, 1960-61, no. 2 washington, d.c., national gallery of art, the john hay whitney collection, 1983, no. 1 paris, galeries nationales du grand palais, new york, the metropolitan museum of art, the origins of impressionism, 1994-95, no. 4 (titled etude de fleurs) washington, d.c., the phillips collection, impressionist still life, 2001-02, no. 1 literature and references j. ixe, “les artistes montpelliérains au salon de 1868: lettres au directeur du journal de montpellier,” journal de montpellier, montpellier, may 23, 1868 gaston poulain, bazille et ses amis, paris, 1932, no. 13, catalogued p. 213 gabrielle sarraute, catalogue de l’’oeuvre de frédéric bazille (unpublished paper), ecole du louvre, paris, 1948, no. 19, p. 42 daniel wildenstein, “le peintre de natures mortes,” arts, paris, june 9, 1950 françois daulte, frédéric bazille et son temps, geneva, 1952, no. 18, catalogued p. 173 h.l.f., “london’’s public glimpse at the private j.h. whitney collection,” art news, new york, january 1961, illustrated john rewald, the history of impressionism, new york, 1973, illustrated p. 113 john rewald, the history of impressionism, new york, 1976, illustrated pl. 75 françois daulte, "une grande amitié: edmond maitre et frédéric bazille," l'oeil, paris, april 1978, illustrated p. 38 judith bumpus, impressionist gardens, oxford, 1990, no. 33 françois daulte, frédéric bazille et les debuts de l'impressionnisme, catalogue raisonné de l'oeuvre peint, paris, 1992, no. 20, illustrated p. 161 valérie bajou, frédéric bazille, aix-en-provence, 1993, illustrated p. 119 michel schulman, frédéric bazille, 1841-1870, catalogue raisonné, paris, 1995, no. 24, illustrated p. 141 catalogue note frederic bazille’’s etude de fleurs of 1866 is among the most remarkable and beautiful still-life paintings in the history of the impressionist movement. painted in the greenhouse of his family’’s property in méric near montpellier, the artist produced a painting that is more than a conventional still-life or nature morte. instead of a formally arranged assemblage of objects, game, food, or cut flowers, the twenty-five-year-old artist focused on live flowers in terracotta pots on the floor of the greenhouse. while there is an evident debt to gustave courbet’’s realism and his interpretations of flower subjects (see fig. 1), bazille’’s etude de fleurs is distinguished as a composition that breaks with the past. it moves beyond traditional ideas about symmetry, frontality, balance, and subject matter. the disposition of the flower pots seems entirely random and unplanned. it is free of the notions of order and compositional structure that were taught in art schools such as the ecole des beaux-arts. bazille, as well as monet, renoir, and sisley, were fortunate to have been able to study painting in the studio of the academician charles gleyre. “gleyre,” rewald notes, “was a modest man, disliking to lecture, and all in all rather indulgent; he seldom took up a brush and corrected a student’’s work. renoir afterwards stated that gleyre had been ‘of no help to his pupils,’’ but added that he had the merit ‘of leaving them pretty much to their own devices.’’ gleyre did not even have preferences in subject matter and let his students paint what they wanted” (john rewald, the history of impressionism, new york, 1961, pp. 72-74). if there were works that may have directly inspired bazille’’s etude de fleurs, they were most likely flower paintings done by his friends monet (see fig. 2) and renoir (see fig. 3). flowering plants in terracotta pots play a role in each, and, as gary tinterow points out in the catalogue for the origins of impressionism, “[in the summer of 1864] monet wrote a long letter encouraging bazille to do a flower piece: ‘do one, then, because it is, i think, an excellent subject to paint.’’” “by the time bazille began to paint [etude de fleurs] in 1866,” tinterow continues, “he had the opportunity to study monet’’s fleurs de printemps of 1864 [fig. 2] and renoir’’s analogous fleurs de printemps of 1864 [fig. 3]. he had also looked long and hard at manet’’s still lifes in the 1865 exhibition at the galerie martinet and at cadart’’s…when bazille sent [etude de fleurs] as a safe bet to the salon of 1868, it was manet who was cited as bazille’’s…example, since monet and renoir were still virtually unknown” (p. 331). when the painting was exhibited in the salon of 1868, it was attacked by the critic known as j. ixe who wrote for the journal de montpellier. ixe denigrated bazille as a follower of manet, who was widely recognized as the de facto leader of the avant-garde and the source of a wide range of artistic miscues. predictably, the conservative critic also excoriated bazille’’s disregard for academic principles of composition and technique. but at the conclusion of his comments he added begrudgingly that etude de fleurs was “not without character and harmony of color” (p. 331). moreover, bazille’’s painting seems to foreshadow a group of remarkable paintings of geraniums in terracotta pots done in the 1880s by paul cézanne (see fig. 4). fig. 1, gustave courbet, fleurs (flowers in a vase), 1862, oil on canvas, collection of the j. paul getty museum, malibu, ca fig. 2, claude monet, fleurs de printemps (spring flowers), 1864, oil on canvas, the cleveland museum of art, gift of the hanna fund fig. 3, pierre-auguste renoir, fleurs de printemps (spring flowers), 1864, oil on canvas, kunsthalle, hamburg fig. 4, paul cézanne, still life with petunias, circa 1885, oil on canvas, private collection

Frédéric Bazille - L'homme A La Pipe

Original 1869

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Auction: Sotheby's - Jun 27, 2001- London

Lot number: 109
Other WORKS AT AUCTIONDescription:

frederic bazille 1841-1870 l'homme a la pipe signed watercolour on paper 21 by 14.5cm., 8 1/4 by 5 3/4 in. executed in 1869. provenance acquired by the father of the present owner in nimes circa 1980 thence by descent literature michel schulman, frederic bazille, 1841-1870. catalogue raisonne: peintures, dessins, pastels, aquarelles. sa vie, son oeuvre, sa correspondance, paris, 1995, p. 254, no. 21, illustrated in colour the present work was executed a year before bazille was killed in the franco-prussian war at the age of only 29, and is a rare example of his remarkable skill in capturing light and form through the technique of watercolour. the figure in this portrait, displaying a contemplative pose, is executed in bazille's typical technique of using subtle varieties of one dominant colour, often shades of beige and grey, against a neutral, monochrome background. bazille's artistic skills and the role he played in the early years of impressionism only became widely recognised many years after his death. with monet and renoir, with whom he trained in charles gleyre's studio, bazille laid the foundation for impressionism but was sadly not able to see his artist friends flourish. bazille's relationship with his devoted friend monet is well recorded, from the financial support to artistic exploration. his life in the impressionist circle during the period from the early 1860s until his death was one fulfilled by painting, friendship and intellectual stimulation.