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Felix TOBEEN (Bordeaux 1880 - Saint Valery en somme 1938) Harvest in the Corbières, circa 1914-1915 Original oil on canvas 65 x 54 cm Signed lower right in sgraffito Tobeen Exhibition label Musée des Beaux Arts Bordeaux 2012 on the back. Provenance : Sale by Maîtres Paul et Jacques Martin, Versailles, March 4, 1979, no. 93 Exhibition: Galerie Blot, 1917 Galerie Haussmann, 1921 Exhibition Felix Tobeen, Un poète du Cubisme, Musée Bordeaux, May 31 to September 3, 2012 Bibliography : Jean Richard, Catalogue Raisonné de l'Oeuvre de Félix Tobeen, n°71, reproduced Michel Charzat, La jeune peinture française 1910-1940, Une époque, un Art de vivre, Paris, Hazan, 2010, page 184, described and reproduced Originally from Bordeaux, Félix Elie Bonnet, known as Tobeen, came from a family of artists and decorators based in the historic center of Bordeaux. In the family workshops, he discovered and practiced wood engraving. During these early years, Tobeen met a number of Bordeaux artists - Georges de Sonneville, André Lhote and Odilon Redon, for example - while also making the acquaintance of second-hand dealer Pascal Désir Maisonneuve. Tobeen's vision of Gauguin's works inspired him in his work, particularly in the use of solid colors and the delimitation of shapes by a circle. In 1907, Tobeen moved to Paris, settling in a studio at La Ruche in Montparnasse, then rue Trudaine. In contact with the Ruche artists, who were close to Picasso, but also with the artists of the Puteaux circle who took part in the "Section d'Or" Salon in 1912 (Gleizes, Metzinger, Jacques Villon, Picabia, La Fresnaye...), Tobeen became interested in the Cubist movement. During his lifetime, the artist took part in some thirty exhibitions, in France and abroad, particularly in the Netherlands. His work was regularly shown in Salons and galleries, especially in Paris (Bernheim Jeune, Druet, Berthe Weill, Blot, Katia Granoff...).These various activities and encounters contributed to his success in later years, during which time he also frequently visited the Basque country, which regularly became the subject of some of his paintings. In 1920, the painter discovered Saint-Valéry-sur-Somme, where he settled a few years later. Tobeen enjoyed great success, particularly in the Netherlands, for his many flower paintings. He also joined the Jeune Peinture Française group. Still lifes and female figures dominated the last twenty years of his career. ---- Félix-Elie Bonnet dit Tobeen, from Bordeaux of Basque-French descent, was a self-taught painter who was introduced to painting by Olivier Hourcade, the introducer of Cubism in Aquitaine. After a post-impressionist period, then a Fauvist one (his Consolation evokes the pre-1914 Girieud), he moved to Paris, meeting the artists of the Puteaux circle in 1910 and taking part in the first Section d'or exhibition (1912). He set out to achieve a synthesis between cubism and tradition. His Pelotaris, a large-scale composition for the Indépendants, was noticed by Apollinaire. After the Great War, he fled the capital and settled in Saint-Valéry-en-Caux. Breaking with Cubism to join the Jpf movement, he exhibited frequently at the Bernheim gallery and in Holland (Nieuwenhuizen Segaar gallery in The Hague). From then on, his painting was realistic and poetic, with light colors and geometric plasticity. His subjects are still lifes, precious bouquets and landscapes, particularly of the Basque country, which are similar to those of La Fresnaye in the early 1920s. A man of high moral and artistic standards, Tobeen is said to have created just three hundred canvases. He also drew and painted on wood. Several museums preserve his works, in France (Bordeaux, Bayonne, Nancy) and the Netherlands (Kröller-Müller Museum, Otterlo Central Museum, Utrecht). A monograph on Tobeen is currently in preparation. Michel Charzat, La Jeune peinture française, 1910-1940 une époque, un art de vivre, Paris, Hazan, 2010

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Felix TOBEEN (Bordeaux 1880 - Saint Valery en somme 1938) Harvest in the Corbières, circa 1914-1915 Original oil on canvas 65 x 54 cm Signed lower right in sgraffito Tobeen Exhibition label Musée des Beaux Arts Bordeaux 2012 on the back. Provenance : Sale by Maîtres Paul et Jacques Martin, Versailles, March 4, 1979, no. 93 Exhibition: Galerie Blot, 1917 Galerie Haussmann, 1921 Exhibition Felix Tobeen, Un poète du Cubisme, Musée Bordeaux, May 31 to September 3, 2012 Bibliography : Jean Richard, Catalogue Raisonné de l'Oeuvre de Félix Tobeen, n°71, reproduced Michel Charzat, La jeune peinture française 1910-1940, Une époque, un Art de vivre, Paris, Hazan, 2010, page 184, described and reproduced Originally from Bordeaux, Félix Elie Bonnet, known as Tobeen, came from a family of artists and decorators based in the historic center of Bordeaux. In the family workshops, he discovered and practiced wood engraving. During these early years, Tobeen met a number of Bordeaux artists - Georges de Sonneville, André Lhote and Odilon Redon, for example - while also making the acquaintance of second-hand dealer Pascal Désir Maisonneuve. Tobeen's vision of Gauguin's works inspired him in his work, particularly in the use of solid colors and the delimitation of shapes by a circle. In 1907, Tobeen moved to Paris, settling in a studio at La Ruche in Montparnasse, then rue Trudaine. In contact with the Ruche artists, who were close to Picasso, but also with the artists of the Puteaux circle who took part in the "Section d'Or" Salon in 1912 (Gleizes, Metzinger, Jacques Villon, Picabia, La Fresnaye...), Tobeen became interested in the Cubist movement. During his lifetime, the artist took part in some thirty exhibitions, in France and abroad, particularly in the Netherlands. His work was regularly shown in Salons and galleries, especially in Paris (Bernheim Jeune, Druet, Berthe Weill, Blot, Katia Granoff...).These various activities and encounters contributed to his success in later years, during which time he also frequently visited the Basque country, which regularly became the subject of some of his paintings. In 1920, the painter discovered Saint-Valéry-sur-Somme, where he settled a few years later. Tobeen enjoyed great success, particularly in the Netherlands, for his many flower paintings. He also joined the Jeune Peinture Française group. Still lifes and female figures dominated the last twenty years of his career. ---- Félix-Elie Bonnet dit Tobeen, from Bordeaux of Basque-French descent, was a self-taught painter who was introduced to painting by Olivier Hourcade, the introducer of Cubism in Aquitaine. After a post-impressionist period, then a Fauvist one (his Consolation evokes the pre-1914 Girieud), he moved to Paris, meeting the artists of the Puteaux circle in 1910 and taking part in the first Section d'or exhibition (1912). He set out to achieve a synthesis between cubism and tradition. His Pelotaris, a large-scale composition for the Indépendants, was noticed by Apollinaire. After the Great War, he fled the capital and settled in Saint-Valéry-en-Caux. Breaking with Cubism to join the Jpf movement, he exhibited frequently at the Bernheim gallery and in Holland (Nieuwenhuizen Segaar gallery in The Hague). From then on, his painting was realistic and poetic, with light colors and geometric plasticity. His subjects are still lifes, precious bouquets and landscapes, particularly of the Basque country, which are similar to those of La Fresnaye in the early 1920s. A man of high moral and artistic standards, Tobeen is said to have created just three hundred canvases. He also drew and painted on wood. Several museums preserve his works, in France (Bordeaux, Bayonne, Nancy) and the Netherlands (Kröller-Müller Museum, Otterlo Central Museum, Utrecht). A monograph on Tobeen is currently in preparation. Michel Charzat, La Jeune peinture française, 1910-1940 une époque, un art de vivre, Paris, Hazan, 2010

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TOBEEN - Felix BONNET dit (1880-1938) Voilier dans le Port de Saint-Jean-de-Luz Huile sur toile signée en bas à droite, inscription sur le chassis et reste d'étiquette 55 x 38 cm (restaurations) Ce tableau de Tobeen est totalement inédit. Redécouvert dans un état "grenier", il est présenté ici comme une des meilleures compositions du Pays Basque. Le port de Saint-Jean-de-Luz parfaitement identifiable avec l'église Saint Jean-Baptiste et les deux clochers de la maison Louis XIV est un prétexte merveilleux à la mise en scène de cette petite embarcation déployant sa grande voile immaculée. Les formes géométrisées renforcée par des aplats de couleurs minutieusement posés dans une sorte de scintillement donnent une grande puissance à cette œuvre. L'embarcation comme sujet principal illustre parfaitement le talent de Tobeen dans sa manière d'appréhender les formes, et surtout les effets d'ombre et de lumière. La grande voile blanche domine la toile soulignée par l'ombre de l'intérieur de la coque. Fragile et virevoltant sur une mer agitée, cette embarcation contraste aussi avec les bateaux de pêche à vapeur plus traditionnels dans le port de Saint-Jean-de-Luz. Transmise dans la descendance du poète et romancier français, Pierre Corrard, cette œuvre renvoie aux relations artistiques de Tobeen à Paris et Bordeaux. Dès le début du XXe siècle, Tobeen cultive ses amitiés littéraires. Son premier mécène bordelais Gabriel Frizeau lui fait rencontrer de nombreux écrivains et grâce à Francis Jammes, il fera la connaissance du monde littéraire parisien et des poètes de l'époque. C'est ainsi qu'il rencontre Madeleine Dewailly, poétesse, qui deviendra sa femme. Son amitié avec l'écrivain et critique d'art Olivier Hourcade est également un jalon majeur de sa carrière artistique. Au sein du Paris de Montparnasse des années 1910, il fait probablement ainsi la connaissance de Pierre Corrard, lui-même grand ami du critique d'art. Fervent patriote, Pierre Corrard s'engage dès 1914, à 42 ans, sur le front. Il meurt au combat dans la Meuse dès les premiers jours du conflit. Conservé dans la famille de Pierre Corrard, ce tableau est donc probablement issu de la première série d'œuvres de Tobeen inspirées par le Pays Basque et réalisées entre 1912 et 1914. A moins qu'il ne soit un présent offert par Tobeen dans les années 1920 à sa veuve en souvenir de Pierre Corrard.