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Chaïm Soutine

(18941943 ) - Artworks Wikipedia® - Chaïm Soutine
SOUTINE Chaïm L'enfant De Choeur

Christie's /Nov 6, 2014
222,535.42 - 296,713.89
849,361.00

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Artworks in Arcadja
216

Some works of Chaïm Soutine

Extracted between 216 works in the catalog of Arcadja
Chaïm Soutine - Le Valet De Chambre

Chaïm Soutine - Le Valet De Chambre

Original 1927
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Lot number: 31
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Chaïm Soutine 1893 - 1943 LE VALET DE CHAMBRE indistinctly signed Soutine (upper right) oil on canvas 72.7 by 46cm. 28 5/8 by 18 1/8 in. Painted circa 1927. Provenance Pierre Loeb, Paris Mr & Mrs Bernard J. Reis, New York (acquired by 1945) Philippe Reichenbach, Geneva (acquired by 1981) Private Collection, Switzerland (acquired from the above) Sale: Phillips, de Pury & Luxembourg, New York, 7th May 2001, lot 37 Purchased at the above sale by the present owner Exhibited Boston, Institute of Modern Art, Soutine, 1945, no. 41 New York, The Museum of Modern Art & Cleveland, The Cleveland Museum of Art, Soutine, 1950-51, illustrated in the catalogue (as dating from 1929) Palm Beach, The Society of the Four Arts, Soutine, 1952, no. 26 New York, Marlborough-Gerson Gallery, Inc., International Expressionism, 1968, no. 63, illustrated in the catalogue (as dating from 1929) New York, Marlborough Fine Art Ltd., Chaim Soutine 1893-1943, 1973, no. 57, illustrated in the catalogue (as dating from circa 1928) Montrouge, Centre Culturel et Artistique, XXXIe Salon, 1986, no. 20 Tokyo, Odakyu Museum; Nara, Nara Sogo Museum of Art; Ibaraki, Kasama Nichido Museum of Art & Hokkaido, Hokkaido Museum of Modern Art, Chaim Soutine, Centenary Exhibition, 1992-93, no. 62, illustrated in colour in the catalogue Lugano, Museo d’Arte Moderna, Chaim Soutine, 1995, no. 69, illustrated in colour in the catalogue Literature Elie Faure, Soutine, Paris, 1929, no. 25, illustrated (titled Le Chasseur and as dating from 1928) Maximilien Gauthier, Art Vivant, Paris, 15th May 1930, p. 417 Mademoiselle Garde, ‘Mes Années Soutine’, in L’Œil, no. 13, January 1956, illustrated p. 31 Pierre Courthion, Soutine, peintre du déchirant, Paris, 1972, no. D, illustrated p. 269 (titled Le Valet de chambre (Le Chasseur) and as dating from 1928) R. Martin, ‘Chaim Soutine’, in Arts Magazine, New York, vol. 48, no. 1, September-October 1973, illustrated p. 51 Maurice Tuchman, Esti Dunow & Klaus Perls, Chaïm Soutine, Catalogue Raisonné, Cologne, 1993, vol. II, no. 96, illustrated in colour p. 656 Catalogue Note Portraying a young boy, only identified by his valet uniform, Le Valet de chambre epitomises Soutine’s portraiture of the middle and late 1920s, characterised by a great expressiveness of pose, rhythmically charged brushstrokes and strong colour contrasts. Regardless of the age, social status, or the artist’s personal involvement with the sitter, Soutine’s portraits are imbued with a strong physical presence, as well as with a uniqueness and individuality of his subjects. As the authors of the Catalogue raisonné of Soutine’s work have commented: ‘While his portraits do convey inner realities and make spiritual statements, they are primarily rooted in concrete perception. Though Soutine may project his inner turbulence and most personal feelings onto his subjects, the viewer never loses sight of a particular physical entity being carefully observed and experienced. Even the distortions and exaggerations of facial features and the shiftings and dislocations of body parts do not destroy the essential recognition in each painting of a certain person and a reality specific to him or her’ (M. Tuchman, E. Dunow & K. Perls, op. cit., p. 509). Whilst Soutine occasionally painted portraits of his friends, fellow artists, patrons and several self-portraits, he usually preferred to depict anonymous sitters. The people, whom the artist encountered in everyday life, were identified by their professions and uniforms, such as page boys (fig. 1), pastry chefs (fig. 2) and valets, as in the present work. This shift from portraying people from his own social circle towards less known figures parallels that of his close friend and fellow artist Amedeo Modigliani who, having left Paris and moved to the French Riviera, executed a number of portraits of children, peasants, servants and shop girls. Le Valet de chambre bears resemblance, for example, to Modigliani’s Le Garçon en culottes (fig. 4): both are portraits of unidentified boys, seated frontally in a similar plain interior, with mannerist, elongated facial features. Although both artists sought to emphasise the emotional, inner state of their sitters, Soutine’s boy, rendered in quick, sharp brushstrokes, reflects a sense of angst and unease, Modigliani’s portrait has a dreamy, melancholic atmosphere. ‘Soutine generally chose anonymous figures as models. But as much as his characters may become types, they never give up their identities as particular people. Soutine’s insistence on the physical particularity of his subject, together with this move towards more anonymous sitters, demonstrates his resistance to completely losing himself in the subjective aspects of the portrait experience. This resistance to a complete union between painter and model is also felt in the way Soutine’s figures “pose” before him and us, open to our penetrating scrutiny, but somehow indifferent to the artist’s presence […]. It is the tension between their seeming detachment, on the one hand, and an awareness of Soutine’s personal involvement with them, on the other, that heightens the expressive charge of these figures’ (ibid., pp. 509-510). Although Soutine painted a wide range of sitters throughout his career, the formal arrangements of these portraits remained consistent: his sitters are usually rendered seated, occasionally standing, in half-length or three-quarter-length pose. These figures, often facing frontally and clothed in formal dress, create a sense of posing, rather than a spontaneously captured likeness. Le Valet de chambre is no exception: the boy is depicted frontally, facing the artist, dressed in his valet’s uniform. Another recurring feature is the elongated shape of the head, often with a long nose, large protruding ears and deep, expressive eyes. The background, painted in deep blue tones, is bare and does not offer any clues as to the surrounding in which the sitter is depicted. This deliberate lack of detail takes the viewer’s focus away from the potential narrative of the painting and centres our attention on the physical and emotional power of the portrait. The energy and expressive force of Le Valet de chambre is evocative of the angst-ridden self-portraits of Van Gogh, as well as of his depictions of semi-anonymous models the artist encountered in everyday life.
Chaïm Soutine - Tête De Jeune Fille

Chaïm Soutine - Tête De Jeune Fille

Original
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Lot number: 174
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Chaïm Soutine 1893 - 1943 TÊTE DE JEUNE FILLE Signed Soutine (upper right) Oil on panel mounted on cradled panel 13 3/4 by 12 3/8 in. 34.9 by 31.4 cm Authentication This painting will be included in the forthcoming Volume III of the Chaim Soutine Catalogue Raisonne by Maurice Tuchman and Esti Dunow, currently in preparation. Provenance Hilda (Bobbie) Weinstein, New York (acquired circa the 1950s) Thence by descent
Chaïm Soutine - Paysage

Chaïm Soutine - Paysage

Original 1918
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Lot number: 9
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Chaïm Soutine (Russian, 1893-1943) Paysage oil on canvas 53.7 x 65cm (21 1/8 x 25 9/16in). Painted circa 1918 Footnotes This work will be included in Volume III of the Chaïm Soutine catalogue raisonné currently being prepared by Mr. Maurice Tuchman and Mrs. Esti Dunow. Provenance Private collection, France. Anon. sale, Sotheby's, Paris, 9 December 2009, lot 65. Private collection, UK. Exhibited Munich, Galerie Thomas, Chaïm Soutine: The Passion of Painting , 31 March - 16 May 2009. Chaïm Soutine produced his most important works during the uneasy peace of the entre-deux-guerres ; executed circa 1918 the remarkable and powerful Paysage is surely to be counted among these ground-breaking works. One of the earliest of Soutine's landscapes, this view of the lush French countryside was most likely executed following his time in Paris with friend and fellow artist Amedeo Modigliani, with whom he had shared a studio. Inspired to travel from Lithuania to Paris in the company of classmate Michel Kikoïne, the young Soutine found himself a resident of La Ruche or 'The Beehive': a rounded octagonal building in Montparnasse designed by Gustave Eiffel for the Great Exposition of 1900, eventually converted into a collaborative cité d'artistes . Here he encountered the likes of Marc Chagall, Moïse Kisling and Jacques Lipchitz, and it is through the latter that he first met Modigliani. In 1916, Soutine and his new-found Italian comrade moved to the cité Falguière , a dilapidated set of artists' studios located in the vicinity of La Ruche , where they would live for close to three years in near destitution. With what little they earned being diverted to the purchasing of canvas, paints and other supplies (and in the case of Modigliani his rapidly worsening drug and alcohol habits), both men relied on uncertain income from the occasional day job and the generous financial support of friends. Neither Soutine nor Modigliani would ever fully emerge from the bohemianism of their early careers, epitomising the myth of the brilliant yet impoverished artist. Modigliani naturally exercised a certain level of influence on the younger painter and Soutine's early portraiture certainly recalls his elegantly elongated figures. Yet Soutine resisted the easy grace and stylisation of Modigliani's peaceful figures, instead allowing his models to exhibit vivid and sometimes intense expressions. It has been suggested that Soutine owed a greater debt to the post-Impressionist Paul Cézanne, whose influence would impact Soutine's own oeuvre most profoundly. Although the obvious influence of Vincent van Gogh on Soutine's swirling, vivid handling of the trees in the foreground of Paysage cannot be denied, it is from Cézanne that the complex spatial composition of this work surely stems. Positioning a dense thicket of foliage unapologetically to the foreground, Soutine disrupts the illusion of depth within the composition by abutting the red-orange houses to the middle-ground sharply against it - all but eliminating the space between the near and middle planes. This compression of space, appropriated by the artist in the most striking of ways, is typical of Cézanne whose: 'way of severely constricting and enclosing space' and ''flatness' became more than just a pictorial device for Soutine.' Indeed, 'Soutine would transform this plastic construct into a supremely personal metaphor: a means of expressing the ineluctable fusion of all form and matter, the identification of form, flesh and pigment which is so basic to his landscapes, still lifes and portraits' (Galerie Thomas, Chaïm Soutine: The Passion of Painting , Munich, 2009, p. 65). It is precisely this synthesis of technique with form that enables Soutine to express his subjectivity in Paysage , a method which he would soon revisit and examine in his comparable landscapes of Céret, a small hill-town in the French Pyrenees. Forced to flee the German artillery bombardment of Paris in 1918, Soutine ventured south with the financial backing of his dealer Léopold Zborowski, a move which would inspire a notable shift away from his previously more sombre colour palette. The artist's first stop was Cagnes-sur-Mer, where it is likely that the present work was painted. Coming after years of squalid living in the bustling, rapidly modernizing city built of steel and stone, Soutine's first encounter with the unique beauty of the French countryside revolutionized and refreshed his understanding of colour and light. Leaving behind the still lifes and portraiture which had previously occupied him, landscape would now dominate his oeuvre until the mid-1920s as he drew great inspiration from his new and stimulating environment. Once removed from Paris, Soutine was able to escape not only the chaos and claustrophobia of the city, but also the powerful sway of the European avant-garde. When Soutine first arrived in France in 1913, Cubism and Futurism were still the ground-breaking movements of the day. He would admit, however, 'I never touched Cubism myself, you know, although I was attracted by it at one time. When I was painting at Céret and at Cagnes I yielded to its influence in spite of myself, and the results were not entirely banal' (Soutine quoted in M. Tuchman, E. Dunow & K. Perls, Chaïm Soutine (1893-1943): catalogue raisonné , Vol. I, Cologne, 1993, p. 19). There is a certain ordered geometry to the present work, created by the strong verticality of the trees whose thick trunks create intersecting lines and layered forms as they cut across the canvas. Nevertheless, Soutine's constricted composition and agitated manipulation of the paint in Paysage veers closer to Expressionism than Cubism in its projection of a psychological distress bordering on paranoia which is unique to the artist; it is through this frenetic filter that the viewer is able to comprehend the dismantling force of Soutine's gaze upon the world. The painting seems to perfectly exemplify Emile Zola's definition of art as 'a bit of nature seen through temperament' (E. Zola quoted in N. Kleeblatt, Chaïm Soutine: An Expressionist in Paris , New York, 1998, p. 21).
Chaïm Soutine - L'enfant De Choeur

Chaïm Soutine - L'enfant De Choeur

Original 1927
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Lot number: 349
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Description:
Chaim Soutine (1893-1943) L'enfant de choeur signed 'Soutine' (lower left) oil on cradled panel 16 7/8 x 10 5/8 in. (43 x 26.6 cm.) Painted circa 1927 Mr. and Mrs. James Warburg, Washington, D.C. (by 1944). Mr. and Mrs. Michael Bennahum, New York (by 1968). Stanley Moss and Co., Inc., New York. Acquired by the present owner, circa 1980. Buffalo, The Albright Art Gallery; Cincinnati Art Museum and St. Louis Art Museum, French Paintings of the Twentieth Century, 1900-1939, December 1944-March 1945, p. 62, no. 66 (with incorrect medium and dimensions). Los Angeles County Museum of Art, Chaïm Soutine, February-April 1968, p. 101, no. 50 (illustrated in color; with incorrect medium).
Chaïm Soutine - Nature Morte Aux Poissons, Oeufs Et Citrons

Chaïm Soutine - Nature Morte Aux Poissons, Oeufs Et Citrons

Original 1924
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Lot number: 39
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Description:
Chaim Soutine (1893-1943) Nature morte aux poissons, oeufs et citrons signed 'Soutine' (lower left) oil on canvas 25 ¾ x 32 in. (65.4 x 81.3 cm.) Painted circa 1924 Paul Guillaume, Paris. Dr. Jacques Soubiès, Paris. Dikran Khan Kelekian, New York (by November 1938). Walter P. Chrysler, Jr., New York (by 1941); sale, Parke-Bernet Galleries, Inc., New York, 11 April 1946, lot 33. Valentine Gallery, New York (acquired at the above sale). Jacques Sarlie, New York. Perls Galleries, New York (acquired from the above, November 1950). William March Campbell, Mobile, Alabama (by 1952). Perls Galleries, New York (acquired from the above, 1954). Armand Amante (Galerie de l'Art Moderne), Paris (acquired from the above, February 1956). Galerie Rosengart, Lucerne (1956). Mr. and Mrs. Leigh B. Block, Chicago (1956). Victor Kiam, New York. Marlborough-Gerson Gallery, Inc., New York (acquired from the above, December 1961). Acquired from the above by the family of the present owner, June 1974. PROPERTY FROM A PRIVATE COLLECTION A. Forge, Soutine, London, 1965, pp. 16 and 40 (illustrated in color, pl. 22; dated circa 1923). P. Courthion, Soutine, peintre du déchirant, Lausanne, 1972, p. 86 (illustrated in color, p. 87; illustrated again, p. 252, no. C; titled Nature morte aux poissons et aux oeufs, dated 1926-1927 and with incorrect provenance). M. Tuchman, Art International, 20 January 1974, p. 32 (illustrated in color). A. Werner, Chaim Soutine, New York, 1977, p. 102, no. 19 (illustrated, p. 55, fig. 66; illustrated again in color, p. 103; titled Still Life With Fish and dated 1926-1927). E.-G. Güse, ed., C. Soutine, exh. cat., Westfälisches Landesmuseum für Kunst und Kulturgeschichte Münster, 1981, pp. 79-82 and 251 (illustrated, p. 79; dated 1923). M. Tuchman, E. Dunow and K. Perls, Chaim Soutine, Catalogue Raisonné, Cologne, 2001, vol. I, pp. 410 and 412, no. 54 (illustrated in color, p. 413). New York, Anderson Galleries, A Selected Group of Modern Paintings belonging to Dikran Khan Kelekian, November 1938, no. 53. Richmond, The Virginia Museum of Fine Arts and The Philadelphia Museum of Art, Collection of Walter P. Chrysler, Jr., January-May 1941, p. 134, no. 247 (titled Still Life). Palm Beach, Florida, Society of the 4 Arts, Paintings by Chaim Soutine, February-March 1952, no. 16 (titled Still Life with Fish and dated circa 1923). New York, Perls Galleries, Chaim Soutine, November-December 1953, no. 12 (titled Nature morte aux poissons). New York, Perls Galleries, The William March Collection of Modern French Masterpieces, October-November 1954, no. 20 (illustrated). New York, Perls Galleries, The Perls Galleries Collection of Modern French Paintings, March-April 1955, no. 218 (titled Nature morte aux poissons). New York, Perls Galleries, The Perls Galleries Collection of Modern French Paintings, January-February 1956, no. 227 (titled Nature morte aux poissons). London, Marlborough Fine Art, Ltd., Aspects of Twentieth Century Art, July-August 1962, no. 39 (illustrated in color). London, Tate Gallery and Edinburgh Arts Festival, Chaim Soutine, August-November 1963, pp. 17 and 21, no. 25. Los Angeles County Museum of Art, Chaim Soutine, February-April 1968, p. 115, no. 61 (illustrated). Jerusalem, Israel Museum, Soutine, May-August 1968, no. 24. New York, Malborough-Gerson Gallery, Inc., International Expressionism, April-May 1968, no. 62 (illustrated). London, Marlborough Fine Art, Ltd., European Masters, 1969, no. 67 (illustrated in color). Tokyo, Fuji Television Gallery Co., Ltd., Masters of Twentieth Century, October 1972, no. 31 (illustrated in color). New York, Marlborough Gallery, Inc., Chaim Soutine, October-November 1973, p. 14, no. 34 (illustrated in color, p. 50). Tokyo, Odakyu Museum; Nara Sogo Museum; Ibaraki, Kasama Nichido Museum and Hokkaido Museum of Modern Art, Chaïm Soutine Centenary Exhibition, November 1992-May 1993, p. 144, no. 46 (illustrated in color, p. 78).
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