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André MARE (Argentan 1885-Paris 1932) Character and his dog on a harbour jetty Black ink 12 x 18 cm Monogrammed and dated lower left AM 1920 Provenance : Sale by Maître Perrin-Royere-Lajeunesse, Versailles, May 12, 1985, n°5

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André MARE (Argentan 1885-Paris 1932) Character and his dog on a harbour jetty Black ink 12 x 18 cm Monogrammed and dated lower left AM 1920 Provenance : Sale by Maître Perrin-Royere-Lajeunesse, Versailles, May 12, 1985, n°5

Estimate 600 - 800 EUR

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For sale on Tuesday 24 Sep : 14:00 (CEST)
paris, France
Millon
+33147279534
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André MARE (Argentan 1885 - Paris 1932) The Sleeping Hunter, sketch Original oil on canvas 60 x 73 cm Stamped on the back Provenant de l'atelier André Mare Handwritten on the stretcher: André Mare - Sketch for the painting "Le Chasseur endormi" in the Musée du Petit Palais, Paris. Bibliography : Michel Charzat, La jeune peinture française 1910-1940, Une époque, un Art de vivre, Paris, Hazan, 2010, page 182, described and reproduced "People always talk about me as a decorator, but I'm first and foremost a painter": André Mar is indeed known as one of the main creators of Art Deco. Born in Argentan (Orne) in 1885, he studied with his school friend Fernand Léger at the Académie Julian. Mare became a bookbinder and interior decorator. His "Cubist House" caused a stir at the Salon d'Automne in 1912. After the Armistice, he and Louise Süe founded the Compagnie des Arts français (1919-1928), which created a "1925" style. But André Mare "had painting under his skin". He began exhibiting at the Indépendants in 1906. Influenced first by Impressionism, then by Fauvism, he joined Segonzac's Bande noire in 1910. Through contact with the painters of the Section d'Or, he turned to Cubism, which he chose to illustrate his Carnets de Guerre, an exceptional account of the lives of the Poilus. His sketches are similar to those of Léger, Dufresne and above all La Fresnaye (Le Sénégalais mort). In the aftermath of the war, he was obliged to subordinate his activity as a painter to that of a decorator. His pictorial art was henceforth inspired by decorative cubism (La Dactylo. Musée de Bernay), then evolved towards a personal style: portraits, horses, wet, green landscapes of his Normandy region. His palette was cold, using a range of greens and grays. Occasionally, the influence of his friend La Fresnaye reappears (Le Chasseur endormi, 1929). In 1928, he left the Compagnie des Arts Français to devote himself fully to painting (Galerie Druet exhibition, 1929). He died in 1932 as a result of gassing during the Great War. Some of his works can be seen in the museums of Bernay, Alençon and Troyes (Lévy collection). - Michel Charzat, La Jeune peinture française, 1910-1940 une époque, un art de vivre, Paris, Hazan, 2010