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Chaïm Soutine

(1894 -  1943 ) Wikipedia® : Chaïm Soutine
SOUTINE Chaïm Paysage Du Midi

Christie's /Feb 3, 2016
315,395.26 - 459,951.42
Not Sold

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Artworks in Arcadja
226

Some works of Chaïm Soutine

Extracted between 226 works in the catalog of Arcadja
Chaïm Soutine - Le Poulet Sur Fond Bleu

Chaïm Soutine - Le Poulet Sur Fond Bleu

Original c.1925
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Gross Price
Lot number: 6C
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Chaim Soutine (1893-1943) Le poulet sur fond bleu signed ‘Soutine’’’’’’’’ (lower left) oil on canvas 31 ½ x 16 1/8 in. (80 x 41.2 cm.) Painted circa 1925 Provenance Henri Bing, Paris (by 1926). Jacques Dubourg, Paris (by 1959). By descent from the above to the present owners. Pre-Lot Text Property from a Distinguished French Collection Literature W. George, "Soutine" in Amour de l'Art , 1926, no. 11, p. 369 (illustrated; titled Nature morte ). R. Berger, "L'été a Paris" in XX e Siècle , vol. 21, December 1959 (illustrated). P. Volboudt, "Ce mal que répand la terreur" in XX e Siècle , vol. 26, May 1964, p. 41 (illustrated). P. Courthion, Soutine, Peintre du déchirant , Lausanne, 1972, p. 246, fig. G (illustrated; titled Coquelet vu de profil ). E.G. Güse, ed., C. Soutine , exh. cat., Kunstalle Tübingen, 1982, pp. 91-93. M. Tuchman, E. Dunow and K. Perls, Chaim Soutine, Catalogue raisonné , Cologne, 2001, vol. I, p. 438, no. 73 (illustrated in color, p. 439). Exhibited (possibly) Paris, Galerie de France, Soutine, rétrospective , January-February 1945, no 18. Paris, Galerie Charpentier, Cent tableaux de Soutine , 1959, no. 63. New York, The Jewish Museum; Los Angeles County Museum of Art and Cincinnati Art Museum, An Expressionist in Paris: The Paintings of Chaim Soutine , April 1998-May 1999, p. 79, fig. 44 (illustrated). View Lot Notes >
Chaïm Soutine - Nature Morte Aux Harengs Et Aux Oignons

Chaïm Soutine - Nature Morte Aux Harengs Et Aux Oignons

Original 1917
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Lot number: 175
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Chaïm Soutine 1893 - 1943 NATURE MORTE AUX HARENGS ET AUX OIGNONS signed Soutine (lower left) oil on canvas 37.9 by 61.3cm., 14 7/8 by 24 1/8 in. Painted circa 1917. Provenance Jonas Netter, Paris (acquired by circa 1925-1946) Private Collection (by descent from the above; sale: Christie's, New York, 5th November 2003, lot 300) The Judith and Abraham Amar Foundation, Switzerland (purchased at the above sale; sale: Christie's, London, 25th June 2008, lot 512) Purchased at the above sale by the present owner Exhibited Tokyo, Musée d'Art de Daimaru (& travelling within Japan), Modigliani et son époque, Paris 1910-1920, 1997, no. 5 Literature Pierre Courthion, Soutine, Peintre du déchirant, Lausanne, 1972, fig. C, illustrated p. 179 Maurice Tuchman, Esti Dunow, Guy Loudmer & Klaus Perls, Chaïm Soutine (1893-1943), Catalogue raisonné, Werkverzeichnis, Cologne, 1993, vol. I, no. 10, illustrated in colour p. 360 Catalogue Note Painted circa 1917, Nature morte aux harengs et aux oignons epitomises Soutine's style with its great expressiveness, rhythmically charged brushwork and intense colouration. Maurice Tuchman has observed that Soutine’’’’s bold creativity and style of painting, which privileged shape, colour, and texture over representation, bridged more traditional approaches with the developing form of Abstract Expressionism: 'The growing importance of individual brushstroke, the singular touch of the painter's hand, is shared by many modern Expressionists from Van Gogh right through to the American Abstract Expressionists, passing through Soutine’’’’ (Maurice Tuchman, Esti Dunow, Guy Loudmer & Klaus Perls, Chaïm Soutine (1893-1943), Catalogue raisonné, Werkverzeichnis, Cologne, 1993, vol. I, p. 35). The dish of herrings is a recurring motive in the artist’’’’s œuvre. As a traditional meal of the poor, the subject matter was taken up by artists throughout art history – including the Dutch Old Masters and Van Gogh. The personal symbolism of food is unmistakable in the still lifes of Soutine, who endured great poverty while growing up. In its bold creativity and its almost tactile presence, Nature morte aux harengs et aux oignons foreshadows the seething intensity of the subsequent avant-garde. See More See Less
Chaïm Soutine - Les Platanes À Céret

Chaïm Soutine - Les Platanes À Céret

Original 1920
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Lot number: 25
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Chaïm Soutine 1893 - 1943 LES PLATANES À CÉRET signed Soutine (lower right) oil on canvas 53.5 by 72.5cm. 21 by 28 1/2 in. Painted circa 1920. Provenance Henri Bing, Paris G. Pardo de Leygonier, Paris Estudio Actual, Caracas Galerie Beyeler, Basel (acquired from the above in 1970) Private Collection, Switzerland (acquired in 1971. Sold: Sotheby's, London, 19th June 2007, lot 23) Purchased at the above sale by the present owner Exhibited Lugano, Museo d'Arte Moderna, Chaïm Soutine, 1995, no. 26, illustrated in colour in the catalogue Céret, Musée d'Art Moderne, Soutine. Céret 1919-1922, 2000, illustrated in colour in the catalogue (titled Les Platanes à Céret, Place de la Liberté and as dating from 1919) Literature Pierre Courthion, Soutine. Peintre du déchirant, Lausanne, 1972, fig. E, illustrated p. 191 (as dating from 1919) Maurice Tuchman, Esti Dunow & Klaus Perls, Chaïm Soutine. Catalogue Raisonné, Cologne, 1993, vol. I, no. 56, illustrated in colour p. 169 Catalogue Note Soutine lived in Céret, in the Eastern Pyrenees, from 1919 until 1922, painting a number of landscapes of the region. In moving to Céret, Soutine followed in the footsteps of many artists before him, including Picasso, Gris and Chagall, however he was the only one to immerse himself fully into his new surroundings, often wandering around town and absorbing the stimuli it offered him. The present work shows a view of the Place de la Liberté (fig. 1), one of the sites he favoured as a subject. During his years in Céret, Soutine used to paint en plein air, finding a hidden spot where no passer-by could see his work. Les Platanes à Céret displays the wonderful sense of rhythm and expressive composition which Soutine developed during this period. It was in Céret, at the age of 26, that he reached artistic maturity and formulated the pictorial style and expressive force that was to drive his art throughout his career. Maïthé Vallés-Bled wrote about the present work: 'A solid composition places the gnarled trunks firmly on the sloping ground. The general movement of the construction is given by the diagonals of the thick branches on the left, bending at an angle towards the slope. The trees therefore cannot resist the winds and other climatic aggressions. Had the angle been drawn in the other direction, downhill, their balance would have been upset and they would have inevitably toppled over. This is precisely what is happening on the right-hand side of the painting where the inverted diagonals of the tree-trunks and branches collide and upset the initial balance. The trees here have the same symbolic weight, the same evocative power as the little toppled figures present in his landscapes' (M. Vallés-Bled in Chaïm Soutine (exhibition catalogue), op. cit., p. 158). Fig. 1 La Place de la Liberté in Céret. Photograph by G. Bartoli See More See Less
Chaïm Soutine - Paysage Du Midi

Chaïm Soutine - Paysage Du Midi

Original c.1918
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Lot number: 375
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Chaïm Soutine (1893-1943) Paysage du midi signed 'Soutine' (lower right) oil on canvas 24 7/8 x 20 5/8 in. (63.2 x 52.3 cm.). Painted circa 1918 Special Notice These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’’’’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction. Provenance Charles Hall Thorndike, by whom acquired directly from the artist. Anonymous sale, Bellier, Paris, 6 July 1999. Acquired at the above sale by the present owner. Exhibited Cologne, Galerie Gmurzynska, The Impact of Chaïm Soutine (1893-1943): de Kooning, Pollock, Dubuffet, Nacon, November - December 2001, p. 150 (illustrated). New York, Cheim & Read, The New Landscape, The New Still Life: Soutine and Modern Art, June - September 2006, n.p. (illustrated).
Chaïm Soutine - La Folle

Chaïm Soutine - La Folle

Original 1918
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Lot number: 41
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Chaïm Soutine 1893 - 1943 LA FOLLE Signed Ch. Soutine (lower right) Oil on canvas 28 3/4 by 23 5/8 in. 73 by 60 cm Painted in 1918. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice 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 Léopold Zborowski, Paris Henri Bing, Paris Mrs. Gaetane Hyordey-Bing, Cannes (by descent from the above in 1965) Acquired from the above in 1980 Literature Pierre Courthion, Soutine, Peintre du déchirant, Paris, 1972, illustrated p. 31 & p. 186 Catalogue Note Soutine's approach to portraiture was characterized by a profound psychological sensitivity that was unusual for the artists of his generation. While his contemporaries such as Modigliani painted portraits of attractive nudes or flattering, commissioned depictions of fashionable doyennes, Soutine preferred to focus his attention on society's forgotten figures. His models were often members of the working class, the poor or the otherwise downtrodden, portrayed with an honesty and gritty realism that was startlingly in contrast with the sleekness and sophistication of the 1920s. These portraits gave visibility to people normally relegated to the shadows of modern society and presented their bodies and their existential plight as subjects worthy of consideration. The present work depicts a young patient from a mental hospital, painted in Paris in 1918. Europe at this moment was reeling from the catastrophic events of the war, now in its final weeks, and artists were beginning to process the impact of post-war life through their work. Like Giacometti would do in response to World War II, Soutine here focuses his attention on the psyche in turmoil. While the identity of this particular sitter is unknown, she embodies the weariness, confusion and frustration of a society at its breaking point. Soutine was not the first to subject the fragility of life to the scrutiny of artistic interpretation. Inspired by the painters of the 19th century, the artist reprises a line of inquiry that once fascinated the celebrated 19th century Romantic painter, Gericault. In his consideration of La Folle, art historian William N. Ambler has observed Soutine's indebtedness to Gericault in this regard: "Théodore Géricault inspired Chaim Soutine in a variety of ways. In addition to an appreciation for Romantically expressive brushwork, both were drawn to the macabre, including a fascination with painting dead flesh and portraying the insane. Shortly before his tragic death in 1824, aged 32, Géricault painted portraits of the patients of his friend, Étienne-Jean Georget who served as chief physician of the Salpêtrière, the women's asylum in Paris. Géricault's grandfather and uncle had died insane and Géricault's own mental breakdown in 1819 ensured the artist's interest in the subject of mental illness. Géricault infuses his renderings of Dr. Georget's patients with a delicate balance of compassion and incisive accuracy, while also seizing the opportunity to provide a bravura display of brilliant painterly brushwork" (W.N. Ambler, in correspondence with Sotheby's, October 2015). Fig. 1 Théodore Géricault, La Folle Monomane du jeu , 1819, oil on canvas, Louvre Museum, Paris Fig. 2 Théodore Géricault, La Monomane de l’’’’envie , 1819-20, oil on canvas, Musée des Beaux-Arts de Lyon Fig. 3 Chaim Soutine, Désolation , 1921, Musée Calvet, Avignon See More See Less
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