DROUOT
Monday 23 Sep at : 14:00 (CEST)

Collection Bismuth - Etcheverry, art moderne Part I

Millon - +33147279534 - Email

Salle 9 - Hôtel Drouot - 9, rue Drouot 75009 Paris, Frankreich
Exposition des lots
jeudi 19 septembre - 11:00/20:00, Salle 9 - Hôtel Drouot
vendredi 20 septembre - 11:00/18:00, Salle 9 - Hôtel Drouot
samedi 21 septembre - 11:00/18:00, Salle 9 - Hôtel Drouot
dimanche 22 septembre - 11:00/18:00, Salle 9 - Hôtel Drouot
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100 Ergebnisse

Los 30 - Eugène Paul, known as GEN PAUL (Paris 1895 - 1975) Belotte and rebelotte, circa 1926-1928 Original oil on canvas 73 x 92 cm Titled and countersigned on the back on canvas and stretcher Belotte et rebelotte Gen Paul Bears on the stretcher a handwritten label mentioning the exhibition March 16, 1995 April 1995 Couvent des Cordeliers Paris, as well as a sales note n°122 Bears on the stretcher handwritten annotations in blue chalk Portrait de Monsieur Guillaumin fils et de sa femme Provenance : Sale by Maîtres Champin, Lombrail, Gautier, Enghien-les-Bains, November 18, 1979, n°122 Exhibition : Exposition Gen- Paul , Couvent des Cordeliers, Paris, March-April 1995 Montmartre Les débuts de l'Art moderne 1880-1930, Aosta, August-October 1998 Bibliography : Montmartre Les débuts de l'Art moderne 1880-1930 exhibition catalog, Aosta, August-October 1998, Mondadori publisher, page 131, described and reproduced. Montmartre and art go hand in hand. Montmartre was home to many of the great artists who set up their easels there, and who at one time or another lived on the Butte, where I had the opportunity to meet almost all of them, from Bonnard to Picasso, from Gen Paul to Hélion and the surprising Cappiello, the first to have had the idea of putting art and advertising on paper [...]. [...] What is modernity in art? First of all, there has to be a break. A break with academic teaching. Then there must be creation. In Montmartre, the Atelier Cormon was an important place where tradition was firmly rooted. On the other hand, the color of the neighborhood lent itself to a greater freedom of spirit, and certain artists felt this need early on, and marked by the atmosphere, they were able to imbue themselves with it in order to express their temperament with sincerity. The aim of this exhibition is to pay tribute to these creators who gave birth to modern art. [...] The memory of places is transmitted through the personalities who lived there. The purpose of this exhibition is not to list them, but to evoke some of the most important figures. Overcoming the problem of location, some artists left Montmartre from time to time to develop their own concerns as painters elsewhere. Still others turned to spirituality or meditation, the turn of the soul sometimes taking over. [...] The Montmartre of yesteryear, which was fertile ground for so many artists, today produces images that are too stereotyped and soulless, confusing the visitor's mind and leaving only the shadows of past glories. A much-needed rehabilitation was needed to show the public just how much the history of art in Montmartre has counted. Roberto Perazzone, Montmartre, Les débuts de l'art moderne, La nascita dell'arte moderna 1880-1930, Musée régional archéologique, Région autonome Vallée d'Aoste, [July 11 - October 18 1998], Milan, Editoriale Giorgio Mondadori, 1998.

Schätzw. 25 000 - 35 000 EUR

Los 34 - 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

Schätzw. 1 000 - 1 500 EUR