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Chaïm Soutine

(1894 -  1943 ) Wikipedia® : Chaïm Soutine
SOUTINE Chaïm Le Poulet Sur Fond Bleu

Christie's /May 12, 2016
615,384.62 - 879,120.88
740,642.50

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Artworks in Arcadja
233

Some works of Chaïm Soutine

Extracted between 233 works in the catalog of Arcadja
Chaïm Soutine - Le Nain Rouge

Chaïm Soutine - Le Nain Rouge

Original c.1916
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Lot number: 32B
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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).
Chaïm Soutine - Paysage Aux Toits Rouges

Chaïm Soutine - Paysage Aux Toits Rouges

Original 1919
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Lot number: 188
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Chaïm Soutine PAYSAGE AUX TOITS ROUGES 1893 - 1943 Signed Soutine (lower right) Oil on canvas 19 3/4 by 25 3/4 in. 50.1 by 65.5 cm Painted circa 1919. Galerie Percier, Paris Perls Galleries, New York (acquired by 1952-53) Bertram N. Linder, Dalton, Pennsylvania (acquired from the above in 1953 and sold: Sotheby's, London, December 7, 1977, lot 78) Christian Fayt, Belgium Sale: Christie's, New York, October 31, 1978, lot 26 A. Alfred Taubman, New York (acquired at the above sale) Acquired from the estate of the above by the present owner Exhibited New York, Perls Galleries, Modern French Paintings, 1952, no. 175 Venice, XXVI Biennale di Venezia, 1952, no. 6 Providence, Rhode Island School of Design Museum of Art, Chaïm Soutine: 1893-1943, 1953 New York, Perls Galleries, Modern French Paintings, 1953, no. 190 West Bloomfield, Michigan, Janice Charach Epstein Museum Gallery at the Jewish Community Center of Metropolitan Detroit, The Art of Collecting II - Fine Art Created by Jewish Artists, 1992 Céret, Museé d'Art Moderne de Céret, Soutine in Céret, 1919-1922, 2000, illustrated in color in the catalogue Cologne, Galerie Gmurzynska, The Impact of Chaïm Soutine: De Kooning, Pollack, Dubuffet, Francis Bacon, 2001-02 Literature New York Times, November 8, 1953, illustrated Alfred Werner, "New York-Soutine: Affinity for an Alien World" in Art Digest, vol. 28, November 15, 1953, illustrated p. 17 Robert M. Coates, "The Art Galleries: Soutine and Modigliani" in The New Yorker, vol. 29, November 21, 1953, no. 40, illustrated p. 106 Pierre Courthion, Soutine: Peinture du Déchirant, Lausanne, 1972, no. F, illustrated p. 205 Esti Dunow, Klaus Perls & Maurice Tuchman, Chaïm Soutine, Catalogue Raisonné, vol. I, Cologne, 1993, no. 40, illustrated in color p. 152 Catalogue Note Characterized by powerful strokes of bold color, this landscape exemplifies Soutine's expressive potential as a landscapist. In 1919 Leopold Zborowski, the art dealer who championed the works of both Soutine and Modigliani, encouraged Soutine to leave Paris for the small town of Céret in the Pyrenees. The "Céret Period" of 1919 to 1921 constitutes what was the most prolific period of production in the artist's career. The approximately 200 works executed at this time are characterized by a powerfully expressionist style which, in its distortions, approaches abstraction. In a discussion of the Céret works, Monroe Wheeler stated, "The vehement and idiosyncratic style that he developed there shocked all of Soutine's contemporaries... It is as though this young man of thirty years ago felt that he had a world-shaking message... The landscapes of the Pyrenees seem, indeed, to be shaken by some cosmic force; the architecture becomes flexible and billows like a canvas, the trees reel and stumble about, and the colors seem to have been wrested hungrily from the spectrum; his palette seemed to enter the dance with his forms, the color of one whirling away with the form of another" (quoted in Soutine (exhibition catalogue), Museum of Modern Art, New York, 1950, p. 50).
Chaïm Soutine - Paysage Du Midi

Chaïm Soutine - Paysage Du Midi

Original c.1922-23
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Lot number: 24
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Lot Description Chaïm Soutine (1893-1943) Paysage du Midi signed 'Soutine' (lower right) oil on canvas 25 ¾ x 31 7/8 in. (65.4 x 81 cm.) Painted circa 1922-1923 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 Marlborough Fine Art, London, by 1953. Sir Edward and Lady Hulton, London, by 1957. Marlborough Fine Art, London, by whom acquired from the above in March 1981. Anonymous sale, Sotheby's, London, 30 June 1981, lot 38. Perls Galleries, New York, by whom acquired at the above sale. Acquired from the above by the present owner in June 1988. Pre-Lot Text THE PROPERTY OF A PRIVATE SWISS COLLECTOR Literature Das Kunstwerk , vol. 18, no. 5, November 1964, p. 35 (illustrated; titled 'Südfranzösische Landschaft ' ). P. Courthion, Soutine , Peintre du déchirant , Lausanne, 1972, p. 208 (illustrated fig. A; titled 'Paysage du Midi au grand arbre fourchu' and dated '1921'). M. Tuchman, E. Dunow & K. Perls, Chaïm Soutine (1893-1943), Catalogue Raisonné , vol. I, Cologne, 1993, no. 108, p. 233 (illustrated). Exhibited London, Marlborough Fine Art, Ltd., Important French Masters of the XIXth and XXth Centuries , February - March 1953, no. 30, p. 19 (illustrated). London, Tate Gallery , A Selection of Pictures, Drawings and Sculpture from the Collections of Sir Edward and Lady Hulton , August - September 1957, no. 31. Paris, Galerie Charpentier, Cent tableaux de Soutine , 1959, no. 16 (illustrated). Wuppertal, Kunst- und Museumsverein, Sammlung Sir Edward und Lady Hulton, London , 1964, no. 52 (illustrated; titled 'Südfranzösische Landschaft' and dated 'circa 1920'); this exhibition later travelled to Rotterdam, Museum Boymans-van Beuningen; the Frankfurter Kunstverein; Munich, Städtische Galerie im Lenbachhaus; and Dortmund, Museum am Ostwall, between September 1964 and August 1965. Stockholm, Moderna Museet, Hulton-samlingen , July - August 1966, no. 49 (titled 'Sydfranskt landskap' and dated 'circa 1920'). Zurich, Kunsthaus, Sammlung Sir Edward and Lady Hulton London , December 1967 - January 1968, no. 53, p. 17 (illustrated; titled 'Südfranzösische Landschaft' and dated 'circa 1920'). Münster, Westfa¨lisches Landesmuseum für Kunst und Kulturgeschichte, Chaïm Soutine 1893-1943 , December 1981 - February 1982, no. 51, p. 245 (illustrated p. 194; titled 'Landschaft in Südfrankreich' and dated '1924'); this exhibition later travelled to Tübingen, Kunsthalle, March - May 1985; London, Hayward Gallery, July - August 1982; and Lucerne, Kunstmuseum, August - October 1982. Lugano, Museo d'Arte Moderna, Chaïm Soutine , March - June 1995, no. 49, p. 166 (illustrated p. 97). Paris, Pinacothèque, Soutine , October 2007 - January 2008, no. 35, pp. 115-116 (illustrated). Basel, Kunstmuseum, Soutine und die Moderne , March - July 2008, no. 25, p. 269 (illustrated p. 89). View Lot Notes >
Chaïm Soutine - Le Poulet Sur Fond Bleu

Chaïm Soutine - Le Poulet Sur Fond Bleu

Original c.1925
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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
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