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Chaïm Soutine

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

Sotheby's /Mar 2, 2017
707,046.79 - 942,729.05
Not Sold

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Artworks in Arcadja
247

Some works of Chaïm Soutine

Extracted between 247 works in the catalog of Arcadja
Chaïm Soutine - Portrait De Jeune Fille (paulette Jourdain)

Chaïm Soutine - Portrait De Jeune Fille (paulette Jourdain)

Original 1928
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Gross Price
Lot number: 218
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Chaïm Soutine PORTRAIT DE JEUNE FILLE (PAULETTE JOURDAIN) 1893 - 1943 Signed Soutine (lower right) Oil on canvas 13 3/8 by 14 1/4 in. 34.6 by 36.1 cm Paintedcirca1928. Provenance Marcellin & Madeleine Castaing, Paris (acquired directly from the artist) Michel Castaing, Paris (by descent from the above and sold by the estate: Sotheby\\\’s, London, June 22, 2004, lot 167) Galerie Jan Krugier, Geneva (acquired at the above sale) Cheim & Read, New York Acquired from the above in 2006
Chaïm Soutine - La Femme En Rouge Au Fond Bleu

Chaïm Soutine - La Femme En Rouge Au Fond Bleu

Original
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Price:

Lot number: 42
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Chaïm Soutine LA FEMME EN ROUGE AU FOND BLEU Interactive View Up Close: Chaim Soutine\’\’\’\’s 'La Femme en rouge au fond bleu\’\’\’\’ 1893 - 1943 Signed Soutine (lower right) Oil on canvas 29 3/4 by 21 5/8 in. 75.5 by 54.9 cm Painted circa 1928. Jos. Hessel, Paris Jacques Laroche, Paris George Keller, New York & Davos (acquired by 1943) Carroll Carstairs Gallery, New York (acquired by 1949) Mr. & Mrs. Walter Ross, New York (acquired from the above by 1957 and sold: Parke-Bernet Galleries, New York, October 21, 1964, lot 38) Mc Roberts & Tunnard Gallery, London (acquired at the above sale) Perls Galleries, New York (acquired by 1967 and until 1972) Alex Maguy, Paris (acquired by 1972 and until 1973) Private Collection, Japan (and sold: Sotheby's New York, November 5, 1981, lot 233) Perls Galleries, New York (acquired at the above sale and until 1985) Acquired from the above in 1985 Exhibited New York, Bignou Gallery, A Selection of Paintings of the Twentieth Century, 1943, no. 16 (titled The Red Dress) New York, Bignou Gallery, Exhibition of Paintings by Soutine, 1943, no. 15 (titled The Red Dress) Montreal, Montreal Museum of Fine Arts, Manet to Matisse, An Exhibition of 19th and 20th Century French Paintings, 1949, no. 39 (titled Femme en rouge and dated 1932) New York, Perls Galleries, 24 Major Acquisitions, 1968, no. 21, illustrated in color on the cover (titled Jeune femme au fond bleu and dated 1928) New York, Perls Galleries, Chaim Soutine (1893-1943), 1969, no. 18, illustrated in color in the catalogue (dated 1928) Paris, Alex Maguy, Présence de la peinture, 1972 Tel Aviv, Tel Aviv Museum of Art, 1996, n.n, illustrated in color in the catalogue Literature
Chaïm Soutine -  Femme À La Poupée

Chaïm Soutine - Femme À La Poupée

Original 1923
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Price:

Lot number: 26A
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Description:
Chaim Soutine (1893-1943) Femme à la poupée signed 'C. Soutine' (lower left) oil on canvas 31 7/8 x 25 5/8 in. (80.8 x 65.1 cm.) Painted in 1923-1924 This work will be included in the forthcoming third volume of the Chaïm Soutine catalogue raisonné currently being prepared by Maurice Tuchman and Esti Dunow. In a shallow space against a vigorously brushed, olive-toned ground, a grown woman clutching a doll in her lap—an unexpected, viscerally expressive variant on the time-honored image of a mother and child—locks eyes with the viewer. Her black hair is pulled back severely from a prominent widow\\\’s peak, and her brows arch inquisitively over small, deep-set eyes. Her ruddy cheeks and over-sized, gnarled hands bespeak a lifetime of hard physical work, but her pointed chin lends a touch of youthful impishness to her care-worn visage. She is clad in a black top and an ill-fitting brown coat, with sleeves that end above her wrists and shoulders too broad for her wiry frame, imbuing the portrait with a powerful note of pathos. Depicted close-up, her head reaching to the very top edge of the canvas, she confronts us directly with her deeply individual presence—a testament to Soutine\\\’s impassioned identification with his model and the feverish, unruly intensity that he brought to the act of portraiture. \\\“These are speaking likenesses of more or less humble persons whom Soutine invested with the poise of royalty,\\\” Monroe Wheeler has written. \\\“Who can tell what he thought of them? Surely, he was enthralled by their idiosyncracy. He selects the salient features of these persons, their intensive gaze, outstanding ears, huge interworking hands, and renders them to excess with only summary indication of the body, which he then cloaks in the magnificences of the palette. They are unforgettable\\\” (Soutine, exh. cat., The Museum of Modern Art, New York, 1950, p. 65). Soutine painted Femme à la poupée in 1923 to 1924, at arguably the single greatest turning point in his storied career. His first decade in France, since he immigrated from the Lithuanian ghetto in 1913, had been one of dire penury. \\\“It was the kind of gnawing, continual want that can break one\\\’s will to work or live. It left a permanent scar on him both physically and emotionally,\\\” Maurice Tuchman has written (Chaïm Soutine: Catalogue Raisonné, Cologne, 1993, p. 16). Although the Polish poet turned art dealer Léopold Zborowski took an interest in Soutine in 1917, there was no hope yet of income from sales. To eke out a meager living while he painted, Soutine took odd jobs as a railway porter and a factory hand, and he enlisted in a wartime work brigade building fortifications, but was dismissed for frail health. Fraught with anxiety and bereft of means, Soutine remained in Paris for almost the entire duration of the war. He fled south to the Côte d\\\’Azur with Zborowski, who shouldered the expense, and Modigliani, his closest friend, only in the spring of 1918, when the Germans began lobbing massive shells into the capital in a last-ditch, all-out offensive. The group initially took refuge at Cagnes-sur-Mer, but by autumn Soutine had moved on to Céret, in the foothills of the Pyrenees. He was still working there in near-solitude in December 1922, when the forward-thinking American collector Albert Barnes came upon one of his recent works during a buying trip in Paris. The painting struck Barnes with the force of a revelation—\\\“No contemporary painter has achieved an individual form of more originality and power than Soutine,\\\” he proclaimed (The Art in Painting, Merion Station, 1925, p. 375). After meeting the artist, who came grudgingly to Zborowski\\\’s apartment for the occasion, Barnes purchased the dealer\\\’s entire stock of Soutine\\\’s work, more than fifty canvases, for a total of 60,000 francs. Greta Garbo would later often cite Albert Barnes when she spoke about Soutine, and his passion for the artist greatly influenced her. Garbo met Dr. Albert Barnes in 1942 at the gallery of Jacques Seligmann & Co. She visited his collection in Merion and, according to her heirs, stated that \\\“Dr. Barnes was ahead of his time. He had magnificent Soutines.\\\” Barnes\\\’s chance discovery of Soutine transformed the artist\\\’s worldly fortunes, if not his troubled soul, in an instant. Free now to go where he liked, with proceeds from the Barnes sale paying his way, Soutine left Céret in early 1923 and returned to Cagnes, remaining this time for a full two years. \\\“He always thought of himself as a wanderer and an Ishmael, no matter how successful,\\\” Wheeler has written. \\\“And in his extraordinary and implausible life, he achieved no real self-assurance, no comfort or any great illusion—except about art\\\” (exh. cat., op. cit., 1950, p. 36). Soutine initially despaired of his decision to re-locate, struggling to adapt to the sweeping, sun-drenched vistas at Cagnes after his years at mountainous Céret. \\\“I have done only seven canvases. I am sorry about this,\\\” he lamented to Zborowski. \\\“I wanted to leave Cagnes, this landscape which I cannot stand any more. I even went for a few days to Cap Martin, where I thought I would settle. I did not like it...and I am back in Cagnes, against my will\\\” (quoted in An Expressionist in Paris: The Paintings of Chaïm Soutine, exh. cat., The Jewish Museum, New York, 1998, p. 103). Before long, however, he found his way forward, abandoning the angular, convulsive manner of the Céret period—even destroying works from these early years—and adopting instead a burgeoning, curvilinear surface rhythm that reflects the buoyant mood of the Midi. \\\“His cry of failure immediately preceded one of the finest phases of his art,\\\” Wheeler has declared (op. cit., 1950, p. 61). Femme à la poupée dates to the transformative two-year period that Soutine spent in Cagnes, before returning to Paris in 1925. The sitter is an unidentified local woman whom the artist persuaded to brave his famously forceful, impulsive response to the model\\\’s physical presence—his abiding inspiration—and to pose for him. \\\“Sometimes the model is all, but then something goes wrong with the work,\\\” he candidly explained. \\\“I lose my outline of the nose, the mouth or the eyes, or something else. I begin to scream and throw everything on the floor. I admit that this is stupid and even horrible and I am always terrified at this moment, but afterwards, like a woman in childbirth, I\\\’m exhausted but certain that the picture will be better\\\” (quoted in Chaïm Soutine, exh. cat., Galerie Thomas, Munich, 2009, p. 106). The intensity of Soutine\\\’s sensation before the model is manifest here in his unrestrained and powerfully tactile handling, reminiscent of Van Gogh in its Dionysian fervor. Swirling, voluptuous forms lead the eye down the center of the painting, from the model\\\’s rounded head through the hourglass lapels of her coat (perhaps a well-worn fur, to judge by the hue) to her knobby and contorted hands. Especially in the background, the pigment is applied in broad, kinetic swaths, anticipating the gestural liberation of the Abstract Expressionists, who looked to Soutine as a hero ahead of his time. \\\“It\\\’s the lushness of the paint,\\\” de Kooning declared. \\\“He builds up a surface that looks like a material, like a substance. There\\\’s a kind of transfiguration in his work\\\” (quoted in The Impact of Chaïm Soutine, exh. cat., Galerie Gmurzynska, Cologne, 2002, p. 53). This sense of teeming, unfettered life contrasts with the stiffness of the inanimate doll, its arms rigid and its legs outstretched, that the sitter cradles awkwardly against her chest—a poignant and unsettling juxtaposition onto which Soutine seems to project all his own inner unrest. The doll functions as a pictorial surrogate for a live child, or perhaps even for the dead Christ in a pietà, such as Soutine might have studied at the Louvre. \\\“Soutine is a painter to whom content was everything,\\\” Andrew Forge has concluded. \\\“His art...seems to mirror a solitary experience, to have suffered to a degree that is without parallel even in the art of our century\\\” (Soutine, London, 1965, p. 21). Provenance Henri Bing, Paris. Valentine Gallery, New York. Acquired by the late owner, circa 1960. Pre-Lot Text PROPERTY FROM THE COLLECTION OF GRETA GARBO Literature P. Courthion, Soutine: Peintre du déchirant, Lausanne, 1972, p. 223 (illustrated, fig. D).
Chaïm Soutine - Paysage Arbreux

Chaïm Soutine - Paysage Arbreux

Original c.1919
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Lot number: 159
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PROPERTY FROM A PRIVATE COLLECTION, LONDON Chaïm Soutine PAYSAGE ARBREUX 1893 - 1943 signed Soutine (lower right) oil on canvas 46.1 by 61cm., 18 1/8 by 24in. Painted circa 1919. E. & A. Silberman Galleries, New York (sale: Sotheby, Parke Bernet, New York, 20th November 1986, lot 49) Leo Model, New York (purchased at the above sale) Private Collection, New York (by descent from the above; sale: Sotheby's, New York, 12th May 1999, lot 315) Purchased at the above sale by the present owner New York, E. & A. Silberman Galleries, 1961, no. 30 New York, Finch College Museum of Art, French Landscape Painters from Four Centuries, 1965-66, no. 62, illustrated in the catalogue Los Angeles, Los Angeles County Museum of Art, Chaïm Soutine, 1968, no. 11, illustrated in the catalogue Lugano, Museo d'Arte Moderna, Chaïm Soutine, 1995, no. 18, illustrated in the catalogue Céret, Musée d'Art moderne de Céret, Soutine, Céret 1919-1922, 2000, n.n., illustrated in the catalogue (titled Paysage aux chênes-lièges) Pierre Courthion, Soutine: Peintre du Dechirant, Lausanne, 1972, no. 220C, illustrated n.p. Maurice Tuchman, Esti Dunow & Klaus Perls, Chaïm Soutine (1893-1943): Catalogue raisonné, Cologne, 1993, vol. I, no. 32, illustrated p. 144 Forced to flee the German artillery bombardment of Paris in 1918, Chaïm 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. This shift is fully evident in Paysage arbreux, a work characterised by powerful strokes of bold greens and deep reds complementing each other across the canvas. The work is a testament to Soutine's expressive potential as a landscapist, showing the impact of the artist’’’’’’’’s initial encounters with the unique beauty of the French countryside after years of living in a rapidly modernising city built of steel and stone. Soutine drew great inspiration from the new and stimulating environment in Céret, a small town in the French Pyrenées where this work was created. Maurice Tuchman writes: ‘During the Céret period Soutine, in his utter reliance on spontaneous execution, with its leaning towards the abstract, most fully embodied the expressionist vision… Soutine’’’’’’’’s typical stroke is usually not a line but a fleshy patch, a section of sentient visceral matter’’’’’’’’ (Maurice Tuchman, Esti Dunow and Klaus Perls, op. cit., p. 20). Indeed, the ‘Céret Period’’’’’’’’ constitutes not only the most prolific period of production in the artist’’’’’’’’s career, but also a period in which the artist created works characterised by a powerfully expressionist style which, in its distortions, approaches abstraction. In Paysage arbreux, this is most evident in the swooping, gestural impasto with which Soutine renders the branches. He also disrupts the illusion of depth within the composition by creating a compact, almost claustrophobic scene, with only the vertiginous path giving a tortuous sense of direction. Indeed, it is this method of synthesising technique and form that enables Soutine to express his vision so successfully in this work.
Chaïm Soutine - Le Nain Rouge

Chaïm Soutine - Le Nain Rouge

Original c.1916
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Gross Price
Lot number: 32B
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Description:
Chaim Soutine (1893-1943) Le nain rouge signed 'C. Soutine' (lower left) oil on canvas 32 x 23 ½ in. (81.3 x 59.8 cm.) Painted in 1916-1917 This work will be included in the forthcoming third volume of the Chaim Soutine catalogue raisonné currently being prepared by Maurice Tuchman and Esti Dunow. In 1913, at the age of twenty, Soutine left his native Lithuania, where he had been attending the city art academy at Vilna, and journeyed some two thousand kilometers to Paris. Accompanied by his friend and fellow painter Michel Kikoïne, he joined another comrade, Pinchus Krémègne, who had emigrated the previous year. The trio settled at “La Rûche” (“The Beehive”), a dilapidated warren of studios in bohemian Montparnasse that served as the first stop in Paris for many artists from Russia and Eastern Europe. Among their neighbors were Archipenko, Chagall, Kisling, Laurens, and Zadkine. Soutine lost no time in continuing his artistic training, enrolling in Fernand Cormon’’’’’’’’s atelier at the Ecole des Beaux-Arts, where Van Gogh had studied years before, and attending evening drawing sessions at the Académie Russe. His true education, however, came from informal gatherings at the Café de la Rotonde, the unofficial headquarters of Picasso and his avant-garde colleagues, and from regular visits to the Louvre, where he immersed himself in the art of the Old Masters. “I see Soutine’’’’’’’’s arrival in Paris as a fantastic conjunction,” Andrew Forge has written. “From nothing, a cultural desert, he finds himself facing...Rembrandt, Corot, Courbet, the skill and taste and sumptuousness of the centuries. From a closed rural society he finds himself in an open culture at the climax of a half century of ferment. It is a measure of his stamina and the force of his need for self-definition that he was able to absorb and use so much” (Soutine, London, 1965, p. 11). Soutine painted Le nain rouge, an intensely expressive portrait of an adult man with dwarfism, in 1916-1917, within several years of his entry into the Paris art world. It is among his earliest surviving figure paintings. He had moved by then to another ramshackle artists’’’’’’’’ block in Montparnasse, the Cité Falguière, where his closest friend and staunchest supporter was Modigliani. “There can hardly have been a greater contrast between them,” Forge has noted. “Modigliani, handsome, profoundly cultured, his modernity tinctured with Italian sweetness–Soutine uncouth, persecuted, learning every inch of the way, indifferent to the purely aesthetic statement” (ibid., p. 8). Léopold Zborowski, the Polish poet turned art dealer who had recently begun to represent Modigliani, took an interest in Soutine as well, but as yet there was no hope of income from sales; even well-established artists faced a grim market in Paris during the First World War. To eke out a meager living while he painted and attended class, Soutine took odd jobs as a railway baggage porter and a factory hand in a Renault plant, and he enlisted for a time in the work brigades that were building fortifications around Paris, before being dismissed for weak health. The poverty and hunger that Soutine had known in the Jewish ghetto of Smilovitchi, the small town near Minsk where he grew up, continued to hound his existence in Paris. Settings of pitifully meager meals, at times more a wish than reality, became the subjects of his first still-life paintings. “It was the kind of gnawing, continual want that can break one’’’’’’’’s will to work or live. It left a permanent scar on him both physically and emotionally,” Maurice Tuchman has written. “For Soutine these years were hardly less bitter than earlier times in Lithuania. Whatever energy was left from his work was devoted to staying alive” (Chaim Soutine: Catalogue Raisonné, Cologne, 1993, p. 16). Painted in the midst of this lean and desperate period, the present portrait already displays many of the signature traits of Soutine’’’’’’’’s famously impassioned, expressive mature style. From the very outset, Soutine committed himself to painting directly from life, abjuring the rarified formal experimentation that underlies cubism, among other modern movements. Working from a state of heightened concentration and a profound identification with his subject, he painted with a visceral intensity, driven by an unruly compulsion to capture on canvas his most immediate sensations before the motif. “His paintings were spontaneity themselves,” proclaimed Lipchitz, his neighbor at the Cité Falguière. “After the meticulous calculations of Cézanne, Seurat and the cubists, Soutine’’’’’’’’s paintings brought a liberation to the young generation of his time” (quoted in The Impact of Chaim Soutine, exh. cat., Galerie Gmurzynska, Cologne, 2002, p. 81). In Le nain rouge, Soutine has obliterated all sense of distance between himself and his unidentified sitter, most likely a neighborhood character whom the artist persuaded to pose for him rather than a circus performer like Picasso’’’’’’’’s Dwarf Dancer “La Nana”. The figure is presented close-up and full-face against a muted brown backdrop, isolated and centered within the pictorial field, his head reaching to the very top edge of the canvas. This restricted compositional format enabled Soutine to give maximum emotional concentration to his subject and at the same time resolve that image structurally, relating the figure to its two- and three-dimensional space. Here, the sitter appears to be midway between seated and standing, his knees slightly bent and his hands on his thighs, as though Soutine has captured him somewhat clumsily rising from the cushiony couch in the background. This awkward stance recalls Velázquez’’’’’’’’s sympathetic portrait of the court dwarf and jester Sebastián de Morra, his short legs pointing forward in an inelegant position reminiscent of a marionette (circa 1645; Museo del Prado, Madrid). Soutine has called attention to the proportional distortions of his model, highlighting his lined face and adult-sized hands against his slight, slope-shouldered frame. Although the sitter’’’’’’’’s impishly pointed chin and prominent ears create a slightly comic effect, his neatly parted and combed hair suggests that he has taken pains with his appearance before posing for the artist. Soutine, facing his model, was attentive not only to the superficial particularities but also to the deeper characteristics of personality, and here he seems to project all his own inner unrest into the poignant and disquieting sidelong glance of the sitter, who finds himself unable to meet the artist’’’’’’’’s penetrating gaze. “These early pictures...are in essentials remarkably consistent with the work of his maturity,” Forge has declared. “All the hallmarks of his vision are here: the character of the image that convinces us that the subject was before his eyes when he painted it; the vitality with which the forms are described; the expressive deformation in the drawing. These elements are hardly to be separated. They are integral to his vision. Nothing is to change here as the years go by, nothing drops out” (op. cit., 1965, p. 11). Soutine remained in Paris for almost the entire duration of the First World War, fleeing south to Cagnes with Zborowski and Modigliani only in the spring of 1918, when the Germans began lobbing massive shells into the capital in a last-ditch, all-out offensive. He was working in near-total solitude in Céret by 1922 when Dr. Albert Barnes’’’’’’’’s chance discovery of his art–today the stuff of modern-art legend–transformed his fortunes in an instant. “But he always thought of himself as a wanderer and an Ishmael, no matter how successful,” Mortimer Wheeler has written. “And in his extraordinary and implausible life, he achieved no real self-assurance, no comfort or any great illusion–except about art” (Soutine, exh. cat., The Museum of Modern Art, New York, 1950, p. 36).
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