1911
Except otherwise stated, all results include the premium.
See also : Sculpture Italian sculpture Bust Tabletop Bouquet Italy Modigliani Matisse Brancusi
See also : Sculpture Italian sculpture Bust Tabletop Bouquet Italy Modigliani Matisse Brancusi
1911 MATISSE
1
masterpiece
1911 L'Atelier Rouge
MoMA
The image is shared by Wikimedia.
Compare The Dessert: Harmony in Red to the Red Studio.
Henri Matisse's The Dessert: Harmony in Red (1908, also known as The Red Room, State Hermitage Museum) and The Red Studio (1911, MoMA, New York) are two landmark works from his "red period," both dominated by intense red hues that challenge traditional representation. They mark progressive steps in Matisse's exploration of color, space, and abstraction, with the earlier painting retaining more decorative harmony and the later pushing toward radical flatness and self-referentiality.
The Dessert: Harmony in Red features a domestic interior with swirling arabesques and a woman at a table; The Red Studio depicts the artist's workspace flooded in red.Similarities
Compare The Dessert: Harmony in Red to the Red Studio.
Henri Matisse's The Dessert: Harmony in Red (1908, also known as The Red Room, State Hermitage Museum) and The Red Studio (1911, MoMA, New York) are two landmark works from his "red period," both dominated by intense red hues that challenge traditional representation. They mark progressive steps in Matisse's exploration of color, space, and abstraction, with the earlier painting retaining more decorative harmony and the later pushing toward radical flatness and self-referentiality.
The Dessert: Harmony in Red features a domestic interior with swirling arabesques and a woman at a table; The Red Studio depicts the artist's workspace flooded in red.Similarities
- Dominant Red: Both use a vivid, Venetian red to unify the composition, liberating color from descriptive function to express emotion and structure. Matisse's shift to red in Harmony in Red (from an earlier blue version) initiated this intense red phase, culminating in The Red Studio.
- Flattened Space: Perspective is distorted; walls, floors, and objects merge via pattern and color, emphasizing the canvas as a two-dimensional surface.
- Decorative Patterns: Swirling arabesques and motifs create rhythm and harmony, evoking luxury and serenity—Matisse's ideal of art as comforting.
- Interior Theme: Both portray intimate domestic/artist spaces, blending figure/ground and interior/exterior elements for a sense of enveloping warmth.
- Subject and Composition:
- Harmony in Red: A serene dining room scene with a woman arranging fruit, table, chair, and window view of greenery. It retains subtle illusionistic depth (e.g., table edges, chair perspective) and a narrative domestic feel.
- The Red Studio: The artist's studio in Issy-les-Moulineaux, filled with his own artworks (paintings, sculptures), furniture, and objects. No central figure; it's a meta-representation of creative space, with artworks "floating" in red void.
- Degree of Abstraction:
- Harmony in Red: More balanced and decorative, with blue-green accents providing contrast and subtle spatial cues. Red dominates wall and tablecloth but allows patterns to define form.
- The Red Studio: Far more radical—red floods nearly everything (walls, floor, objects), dissolving boundaries almost entirely. Contours (in yellow or other colors) outline forms against the red "sea," creating a bolder assertion of flatness and color autonomy.
- Evolution and Breakthrough:
- Harmony in Red represents Matisse's post-Fauvist maturation: color harmonizes a still-recognizable scene for emotional uplift.
- The Red Studio pushes further into modernism, anticipating abstraction by treating the canvas as a colored environment where art depicts its own creation. It shocked contemporaries and influenced later abstract painters.
2
Les Coucous, tapis bleu et rose
2009 SOLD for € 36M by Christie's
Born in northern France, Henri Matisse very early visited the local weaving workshops. Throughout his life, he will be a creator of forms on the most varied supports, overlapping figuration and abstraction.
Fauvism is a short but decisive phase during which he experiences the power of pure colors. Seeking exotic solutions, he travels to Algeria in 1906 and spends two months in Spain in 1910 studying Moorish art. At that time, collectors ahead of their time like Shchukin no longer support the traditional separation between art and decoration.
In 1910 in Madrid, Matisse bought in an antique shop a two-tone rug in fairly poor condition, whose arabesques were naturalistic without being identifiable. He was seduced by the expressive force of this anonymous textile, close by chance to the new style that he had developed for La Danse in 1909.
By varying the colors, he uses his rug as a decorative element in several paintings. In L'Atelier rose, oil on canvas 180 x 221 cm painted for Shchukin in 1911, it is spread over the large screen.
Les coucous - tapis bleu et rose, oil on canvas 81 x 66 cm painted in spring 1911, appears as a preparatory work for L'Atelier rose. On the table, the vase of primroses (coucous) is the pretext for this image, but the rug used as a tablecloth is indeed the main theme by its invitation to abstraction. The turquoise wall at the back is enhanced with pink reflections.
Yves Saint-Laurent saw in the image of this fabric a precursor to his own work. This painting which offers a link between two great designers went to be the most expensive lot of the sale of his collection by Christie's on February 23, 2009 : it was sold for € 36M from a lower estimate of € 12M, lot 55. The image is shared by Wikimedia.
Grok thought :
Quote
DailyArt @DailyArtApp May 6, 2021
Henri Matisse (1869-1954), ‘Les coucous, tapis bleu et rose’, 1911 Christie’s
Fauvism is a short but decisive phase during which he experiences the power of pure colors. Seeking exotic solutions, he travels to Algeria in 1906 and spends two months in Spain in 1910 studying Moorish art. At that time, collectors ahead of their time like Shchukin no longer support the traditional separation between art and decoration.
In 1910 in Madrid, Matisse bought in an antique shop a two-tone rug in fairly poor condition, whose arabesques were naturalistic without being identifiable. He was seduced by the expressive force of this anonymous textile, close by chance to the new style that he had developed for La Danse in 1909.
By varying the colors, he uses his rug as a decorative element in several paintings. In L'Atelier rose, oil on canvas 180 x 221 cm painted for Shchukin in 1911, it is spread over the large screen.
Les coucous - tapis bleu et rose, oil on canvas 81 x 66 cm painted in spring 1911, appears as a preparatory work for L'Atelier rose. On the table, the vase of primroses (coucous) is the pretext for this image, but the rug used as a tablecloth is indeed the main theme by its invitation to abstraction. The turquoise wall at the back is enhanced with pink reflections.
Yves Saint-Laurent saw in the image of this fabric a precursor to his own work. This painting which offers a link between two great designers went to be the most expensive lot of the sale of his collection by Christie's on February 23, 2009 : it was sold for € 36M from a lower estimate of € 12M, lot 55. The image is shared by Wikimedia.
Grok thought :
Quote
DailyArt @DailyArtApp May 6, 2021
Henri Matisse (1869-1954), ‘Les coucous, tapis bleu et rose’, 1911 Christie’s
- This 2021 post from DailyArtApp highlights Henri Matisse's 1911 oil painting "Les coucous, tapis bleu et rose," a Fauvist still life featuring vibrant yellow flowers in a blue vase against patterned textiles, exemplifying his bold color experimentation.
- Created during Matisse's Nice period, the work draws from floral and fabric motifs, was acquired directly from the artist by Galerie Bernheim-Jeune, and later sold for $46 million at Christie's in 2009, underscoring its significance in modern art markets.
- Exhibited in landmark shows like London's 1912 Second Post-Impressionist Exhibition, the painting reflects Matisse's influence on 20th-century design, with peer-reviewed analyses noting its role in bridging Fauvism and decorative arts.
Compare Les coucous, tapis bleu et rose (1911), sold by Christie's on February 23, 2009, lot 55, to The Red Studio.
Henri Matisse's Les coucous, tapis bleu et rose (1911, oil on canvas, 81 x 65.5 cm; also translated as Cowslips, Blue and Pink Carpet) and The Red Studio (1911, oil on canvas, 181 x 219 cm, MoMA, New York) are contemporaneous masterpieces from the same pivotal year, both exploring color, pattern, and flattened space in Matisse's post-Fauvist evolution. Les coucous—from the collection of Yves Saint Laurent and Pierre Bergé, sold at Christie's Paris on February 23, 2009 (lot 55) for a record €36 million—was a still life inspired by textiles and flowers, while The Red Studio (originally The Pink Studio or L'Atelier Rose) depicts the artist's workspace in Issy-les-Moulineaux.
Les coucous, tapis bleu et rose features a vibrant still life with yellow cowslip flowers in a vase on a patterned blue-and-pink textile, against a turquoise wall with subtle pink undertones and decorative elements like stripes and a small framed landscape.
The Red Studio immerses the viewer in a sea of Venetian red, with outlined furniture, sculptures, and Matisse's own artworks floating in the space.
Similarities
Henri Matisse's Les coucous, tapis bleu et rose (1911, oil on canvas, 81 x 65.5 cm; also translated as Cowslips, Blue and Pink Carpet) and The Red Studio (1911, oil on canvas, 181 x 219 cm, MoMA, New York) are contemporaneous masterpieces from the same pivotal year, both exploring color, pattern, and flattened space in Matisse's post-Fauvist evolution. Les coucous—from the collection of Yves Saint Laurent and Pierre Bergé, sold at Christie's Paris on February 23, 2009 (lot 55) for a record €36 million—was a still life inspired by textiles and flowers, while The Red Studio (originally The Pink Studio or L'Atelier Rose) depicts the artist's workspace in Issy-les-Moulineaux.
Les coucous, tapis bleu et rose features a vibrant still life with yellow cowslip flowers in a vase on a patterned blue-and-pink textile, against a turquoise wall with subtle pink undertones and decorative elements like stripes and a small framed landscape.
The Red Studio immerses the viewer in a sea of Venetian red, with outlined furniture, sculptures, and Matisse's own artworks floating in the space.
Similarities
- Year and Context: Both painted in spring/fall 1911, during Matisse's intense experimentation with pure color and textiles (influenced by his "library" of fabrics). They reflect his shift toward decorative harmony and emotional expression over realism.
- Flattened Perspective and Pattern: Space is compressed; boundaries blur via bold, hard-edged color planes and arabesques. Patterns (floral/textile motifs) unify the surface, creating rhythm and balance.
- Color Liberation: Color is autonomous—expressive rather than descriptive. Matisse reportedly reversed pink and turquoise schemes in Les coucous for vibrancy, echoing his bold overpainting in studio works.
- Connection to Larger Works: Les coucous is explicitly described as a "companion" or "blueprint" to The Pink Studio (the initial version of The Red Studio), clarifying chaotic creative processes through lucid, balanced composition. Both tie into commissions for Sergei Shchukin and Matisse's interest in symphonic decorative panels.
- Subject and Composition:
- Les coucous: Intimate still life—yellow cowslips (coucous) in a vase atop a richly patterned blue-pink carpet/textile, set against a turquoise-pink wall. It's serene, decorative, and object-focused, evoking luxury and equilibrium.
- The Red Studio: Meta-interior of the artist's studio, filled with his own paintings, sculptures, furniture, and objects (e.g., open crayon box). No central still life; it's self-referential, depicting the act of creation.
- Color Dominance and Radicality:
- Les coucous: Harmonious interplay of turquoise, pink, blue, and yellow accents—balanced and lucid, with contrasting patterns for dynamic yet soothing effect.
- The Red Studio: Radical monochrome—nearly everything flooded in intense Venetian red, dissolving depth into a flat, immersive "void." Outlines (in yellow/green) define forms against the red, asserting pure abstraction and color's emotional power.
- Scale and Ambition:
- Les coucous: Smaller, more contained; a refined experiment in textile-inspired still life.
- The Red Studio: Monumental; a breakthrough in modernism, anticipating abstraction (influencing Abstract Expressionists like Mark Rothko). Matisse himself noted its "abstraction" despite representational elements.
Tête by MODIGLIANI
Intro
Amedeo Modigliani is a young Italian immigrant who is learning the tendencies of modern art in Paris at the Bateau-Lavoir. From his meeting with Brancusi he discovers the sculpture in direct carving, perfectly suited to his skills : Modi operates quickly and without rework.
Brancusi is one of the greatest innovators of sculpture. Reacting against the realistic details of clay and bronze, he is the first to seek beauty through basic and simplified forms that will lead him up to abstraction.
Modigliani is easily convinced by Brancusi that the direct stone carving may bring an utmost purity to art. Opposed to Rodin's realism, the two artists are attempting a conceptual art that their detractors include in the Cubism still highly disputed at that time.
From 1909 to 1914 Modigliani is obsessed with a unique project : to build a temple dedicated to feminine beauty. To provide a roof for his monument, he tirelessly draws figures of cariatides which he calls his columns of tenderness.
Brancusi and Modigliani find inspiration for their new styles in the antique and African arts. In 1910, Modi draws women topped with a tablette in reference to the Caryatids of the Erechtheion.
Around 1911 he finally exerts his indisputable skills for sculpture in a series of limestone and sandstone women's heads. These elongated heads with a long neck on a cubic base are similar to each other but details of the faces are different. His series of busts made in 1911 and 1912 will prepare his temple of art. The varied heights show that its overall design is far from fixed.
Art critics have searched for models and styles that have inspired the timeless beauty of Modigliani's women's heads. They are indeed a synthesis of all ages and all civilizations. They are simple as the Cycladic idols, noble as queens of Egypt, Mannerist as a Botticelli, mysterious as African masks, serene as deities, geometric like the art of his friend Brancusi. They are designed to be viewed as a group, such as the Cariatides of a Greek temple.
Modi is not yet famous. He uses limestone blocks taken from construction sites and carries them in a wheelbarrow to his modest studio in Montparnasse. His heads of women create around him a crowd of pure and stylized faces with the intense force of a tribal ceremony.
He carved about 25 heads. In 1911 five of them are recognizable by photography in his solo exhibition organized with the help of Brancusi in the vast workshop of Amadeo de Souza-Cardoso. In 1912 the Salon d'Automne aligns seven heads in the Cubist Hall. Only the artist in his small studio in Montparnasse, or some friends at an exhibition in 1911 or 1912, could breathe the mystical atmosphere of the whole.
In 1913 Modigliani feels that his project of temple is ready. He chooses to use marble and visits Carrara. He carved only one caryatid. His fragile health will not allow him to do more. He abandons his great project and becomes a portrait painter again. The bust heads were dispersed.
Modigliani carved the stone in direct cut. In 1914 he had to give up his vocation as a sculptor for reasons of health and money. His brush was as skilled as his chisel to express the purity of the curves, and he became the best portrait painter of Montparnasse.
Brancusi is one of the greatest innovators of sculpture. Reacting against the realistic details of clay and bronze, he is the first to seek beauty through basic and simplified forms that will lead him up to abstraction.
Modigliani is easily convinced by Brancusi that the direct stone carving may bring an utmost purity to art. Opposed to Rodin's realism, the two artists are attempting a conceptual art that their detractors include in the Cubism still highly disputed at that time.
From 1909 to 1914 Modigliani is obsessed with a unique project : to build a temple dedicated to feminine beauty. To provide a roof for his monument, he tirelessly draws figures of cariatides which he calls his columns of tenderness.
Brancusi and Modigliani find inspiration for their new styles in the antique and African arts. In 1910, Modi draws women topped with a tablette in reference to the Caryatids of the Erechtheion.
Around 1911 he finally exerts his indisputable skills for sculpture in a series of limestone and sandstone women's heads. These elongated heads with a long neck on a cubic base are similar to each other but details of the faces are different. His series of busts made in 1911 and 1912 will prepare his temple of art. The varied heights show that its overall design is far from fixed.
Art critics have searched for models and styles that have inspired the timeless beauty of Modigliani's women's heads. They are indeed a synthesis of all ages and all civilizations. They are simple as the Cycladic idols, noble as queens of Egypt, Mannerist as a Botticelli, mysterious as African masks, serene as deities, geometric like the art of his friend Brancusi. They are designed to be viewed as a group, such as the Cariatides of a Greek temple.
Modi is not yet famous. He uses limestone blocks taken from construction sites and carries them in a wheelbarrow to his modest studio in Montparnasse. His heads of women create around him a crowd of pure and stylized faces with the intense force of a tribal ceremony.
He carved about 25 heads. In 1911 five of them are recognizable by photography in his solo exhibition organized with the help of Brancusi in the vast workshop of Amadeo de Souza-Cardoso. In 1912 the Salon d'Automne aligns seven heads in the Cubist Hall. Only the artist in his small studio in Montparnasse, or some friends at an exhibition in 1911 or 1912, could breathe the mystical atmosphere of the whole.
In 1913 Modigliani feels that his project of temple is ready. He chooses to use marble and visits Carrara. He carved only one caryatid. His fragile health will not allow him to do more. He abandons his great project and becomes a portrait painter again. The bust heads were dispersed.
Modigliani carved the stone in direct cut. In 1914 he had to give up his vocation as a sculptor for reasons of health and money. His brush was as skilled as his chisel to express the purity of the curves, and he became the best portrait painter of Montparnasse.
1
1911-1912
2014 SOLD for $ 71M by Sotheby's
On November 4, 2014, Sotheby's sold for $ 71M from an estimate in excess of $ 45M a bust 73 cm high including the base, lot 8. Please watch the video shared by the auction house. This specimen had been exhibited at the Salon d'Automne.
Grok thought from an ArtHitParade tweet :
Grok thought from an ArtHitParade tweet :
- This 2014 X post previews a rare limestone sculpture, "Tête" (Head of a Woman, 1911-1912) by Amedeo Modigliani, for Sotheby's New York sale on November 4, featuring an image of the elongated, archaic-inspired head that exemplifies his short-lived sculptural period.
- The work, one of fewer than 30 surviving Modigliani sculptures, fetched $70.7 million—exceeding its $45 million estimate and setting a then-record for his three-dimensional output—amid a blockbuster evening sale totaling over $365 million.
- @ArtHitParade 's focus on auction milestones underscores Modigliani's market dominance, with his sculptures prized for their African-influenced forms and scarcity, as most were destroyed in a 1917 heatwave to pay his debts.
2
1911
2010 SOLD for € 43M by Christie's
One of these statues, made of Parisian limestone, 64 cm high including the cubic base, was sold for € 43M from a lower estimate of € 4M by Christie's on June 14, 2010. It is shared in an article in French by Le Figaro.
This specimen had been exhibited by Souza-Cardoso and at the Salon d'Automne.
This specimen had been exhibited by Souza-Cardoso and at the Salon d'Automne.
3
1911-1912
2019 SOLD for $ 34M by Christie's
A 51 cm high Tête carved in limestone around 1911-1912 with no early exhibition history was sold for $ 34M by Christie's on May 13, 2019, lot 31A.
On May 13 we will offer Amedeo Modigliani’s limestone sculpture, 'Tête', circa 1911-1912, in our New York Evening Sale of Impressionist and Modern Art.
— Christie's (@ChristiesInc) April 18, 2019
Find out more: https://t.co/gMtuCZPqy8 pic.twitter.com/Tia9YIKeZC
1911 Improvisation mit Pferden by Kandinsky
2017 SOLD for $ 12.7M by Christie's
In 1909 Wassily Kandinsky described his inspiration by three categories : Impression, Improvisation, Komposition. This excessively theoretical approach should not obscure the fact that his great jump forward was to highlight the expression and confrontation of the colors while minimizing the line.
In January 1911 Kandinsky was enthralled by the music of Schönberg heard in a concert. He will now endeavor to express through his painting a universal and pantheistic feeling with a rhythm which is equivalent to a breath. For that purpose he no longer needs a narrative excuse nor a perspective and he also eliminates the graphic consistency between lines and colors.
An example from this new experimental phase was sold for $ 12.7M from a lower estimate of $ 9M by Christie's on November 13, 2017, lot 9 A. this oil on canvas 71 x 99 cm painted in 1911 is titled Improvisation mit Pferden (Studie für Improvisation 20).
The lyrical breath is assured by the primordial force of the diagonal rising from lower left to upper right. The figures are more or less identifiable : horses, a blue and yellow couple, a tower, a row of trees. The powerful rising flow is disturbed by a thick semi-circular black line with zigzag.
The final version 95 x 108 cm titled Improvisation 20 (Zwei Pferde) retained the diagonal and the zigzag, with solid colors. Appearing as a mere detail in comparison with its Studie, it does not offer the same amplitude but is indisputably one of the ultimate stages before pure abstraction.
In January 1911 Kandinsky was enthralled by the music of Schönberg heard in a concert. He will now endeavor to express through his painting a universal and pantheistic feeling with a rhythm which is equivalent to a breath. For that purpose he no longer needs a narrative excuse nor a perspective and he also eliminates the graphic consistency between lines and colors.
An example from this new experimental phase was sold for $ 12.7M from a lower estimate of $ 9M by Christie's on November 13, 2017, lot 9 A. this oil on canvas 71 x 99 cm painted in 1911 is titled Improvisation mit Pferden (Studie für Improvisation 20).
The lyrical breath is assured by the primordial force of the diagonal rising from lower left to upper right. The figures are more or less identifiable : horses, a blue and yellow couple, a tower, a row of trees. The powerful rising flow is disturbed by a thick semi-circular black line with zigzag.
The final version 95 x 108 cm titled Improvisation 20 (Zwei Pferde) retained the diagonal and the zigzag, with solid colors. Appearing as a mere detail in comparison with its Studie, it does not offer the same amplitude but is indisputably one of the ultimate stages before pure abstraction.
Christie's prépare la vente d'une #collection européenne fin 2017 https://t.co/BpMV1mGnNo @artdaily #AvantGarde #ArtModerne #Bijoux #Design pic.twitter.com/apHITK96W2
— Christie's Paris (@christiesparis) July 26, 2017
1911 Prométhée by Brancusi
2012 SOLD for $ 12.7M by Sotheby's
Conceived in 1909 by Brancusi, La Muse Endormie reduces the figure to an ovoid head with some face lines. The head is treated as an autonomous object rather than a fragment of the body.
In 1911 his Prométhée goes still closer to abstraction. Almost all details have disappeared. The remnants are traces of the neck, of an ear and of a line defining nose and brow. He was inspired by Goethe's Prometheus poem brought to him by his muse Margit Pogany.
Brancusi managed to compare his own creativity with the mystical birth of the human race. Prometheus is the mythological Titan who gave birth to mankind from clay and stole the fire in heaven.
The conclusion of the story is the eagle endlessly eating the liver of Prometheus in chains. It is reflected is the slight backward inclination of the head to express pain or sorrow.
Gold is the suitable glowing color to remind Prometheus's fire. A 14 x 17.5 x 14 cm polished gilt bronze cast in 1911 was sold for $ 12.7M from a lower estimate of $ 6M by Sotheby's on May 2, 2012, lot 43.
Brancusi made three other casts in bronze, one marble, two plasters and two in black cement.
The final iteration of this theme with no remaining detail on the undisturbed ovoid form is titled Le Commencement du Monde, conceived in 1920-1924.
In 1911 his Prométhée goes still closer to abstraction. Almost all details have disappeared. The remnants are traces of the neck, of an ear and of a line defining nose and brow. He was inspired by Goethe's Prometheus poem brought to him by his muse Margit Pogany.
Brancusi managed to compare his own creativity with the mystical birth of the human race. Prometheus is the mythological Titan who gave birth to mankind from clay and stole the fire in heaven.
The conclusion of the story is the eagle endlessly eating the liver of Prometheus in chains. It is reflected is the slight backward inclination of the head to express pain or sorrow.
Gold is the suitable glowing color to remind Prometheus's fire. A 14 x 17.5 x 14 cm polished gilt bronze cast in 1911 was sold for $ 12.7M from a lower estimate of $ 6M by Sotheby's on May 2, 2012, lot 43.
Brancusi made three other casts in bronze, one marble, two plasters and two in black cement.
The final iteration of this theme with no remaining detail on the undisturbed ovoid form is titled Le Commencement du Monde, conceived in 1920-1924.
1911 PICASSO
Intro
Supported by Kahnweiler, Georges Braque and Pablo Picasso had their studios in Montmartre. Despite their dissimilar temperaments, they friendly discussed on a daily basis the great project of a new form of graphic perception that would challenge and supersede realism and perspective. They were to acknowledge the planar fragments by Cézanne as a precursor style but they went much further in the faceting of the forms.
Braque's cubisme analytique endeavored to express the emotion, the attributes and the privacy of the artist through a recreated space within a self contained art work.
Le Guéridon, oil on canvas 41 x 33 cm, was painted by Braque in Paris in the spring of 1911. The personal elements are not perceived as a first glance. They include the image of the equipment of the painter : table, palette, stick, brush, a container, a brush washer and two tubes of paint. In the new graphic style, the palette is doubled and the wash pot is oblique and fragmented. The color of the ochre tube is repeated elsewhere in the composition. It was sold for $ 10.1M by Christie's on May 15, 2017, lot 5A.
In 1910 Picasso had been reluctant to follow the trend to total abstraction. He instead managed to use the theme of the tabletop of everyday volumetric objects as a support to an unprecedented pictorial space developed with Braque, the Cubisme analytique, departing from realism. He was more looking than Braque at the root nature of the object.
That early cubisme was short lived. Braque later commented : “One should always have two ideas : one to destroy the other”. Indeed it failed to appeal the public by the nearly impossiibility to match the theme and the figure. In 1912 with Avec l'arc noir, Kandinsky gives up the theme and triggers the abstract art, and the Futurist Boccioni comes back to some figuration by adding colors into the facets of the divisionism.
Braque's cubisme analytique endeavored to express the emotion, the attributes and the privacy of the artist through a recreated space within a self contained art work.
Le Guéridon, oil on canvas 41 x 33 cm, was painted by Braque in Paris in the spring of 1911. The personal elements are not perceived as a first glance. They include the image of the equipment of the painter : table, palette, stick, brush, a container, a brush washer and two tubes of paint. In the new graphic style, the palette is doubled and the wash pot is oblique and fragmented. The color of the ochre tube is repeated elsewhere in the composition. It was sold for $ 10.1M by Christie's on May 15, 2017, lot 5A.
In 1910 Picasso had been reluctant to follow the trend to total abstraction. He instead managed to use the theme of the tabletop of everyday volumetric objects as a support to an unprecedented pictorial space developed with Braque, the Cubisme analytique, departing from realism. He was more looking than Braque at the root nature of the object.
That early cubisme was short lived. Braque later commented : “One should always have two ideas : one to destroy the other”. Indeed it failed to appeal the public by the nearly impossiibility to match the theme and the figure. In 1912 with Avec l'arc noir, Kandinsky gives up the theme and triggers the abstract art, and the Futurist Boccioni comes back to some figuration by adding colors into the facets of the divisionism.
1
spring 1911 Buffalo Bill
2022 SOLD for $ 12.4M by Christie's
At the time of the Cubisme analytique, Picasso and Braque were playfully amazed by the cowboys of the Wild West personified by Buffalo Bill's show. Other folk heroes include Wilbur Wright.
In the spring 1911 in Paris, Picasso tries a portrait of Buffalo Bill. It was more a tribute than a portrait as that head shaken in planar fragments cannot be identified. This oil and sand on canvas 46 x 33 cm was sold for $ 12.4M by Christie's on November 17, 2022, lot 12.
Picasso's followers try to recognize the famous moustache of Buffalo Bill. Nevertheless Picasso's portraits of the cubisme analytique certainly influenced half a century the Soho portraits by Francis Bacon identifying a friend by tiny details.
In the spring 1911 in Paris, Picasso tries a portrait of Buffalo Bill. It was more a tribute than a portrait as that head shaken in planar fragments cannot be identified. This oil and sand on canvas 46 x 33 cm was sold for $ 12.4M by Christie's on November 17, 2022, lot 12.
Picasso's followers try to recognize the famous moustache of Buffalo Bill. Nevertheless Picasso's portraits of the cubisme analytique certainly influenced half a century the Soho portraits by Francis Bacon identifying a friend by tiny details.
2
summer 1911
2015 SOLD for $ 10.5M by Christie's
In mid-August 1911, Braque joined Picasso for a three week summer holidays at Céret in the French Pyrénées. Relying on their previous partnership in Montmartre, they further developed the Cubisme applied by Braque to the still life theme of bottle and glass.
La Carafe, oil on canvas 55 x 38 cm, was painted by Picasso in the following fall or winter. The forms of a carafe, a bottle and a glass are reduced to an overlapping assemblage of fractured forms. The palette is restricted to grey, ochre and black with flashes of white and unpainted areas for an effect of translucence.
La Carafe was sold for $ 10.5M from a lower estimate of $ 6M by Christie's on November 12, 2015, lot 21C.
La Carafe, oil on canvas 55 x 38 cm, was painted by Picasso in the following fall or winter. The forms of a carafe, a bottle and a glass are reduced to an overlapping assemblage of fractured forms. The palette is restricted to grey, ochre and black with flashes of white and unpainted areas for an effect of translucence.
La Carafe was sold for $ 10.5M from a lower estimate of $ 6M by Christie's on November 12, 2015, lot 21C.
3
fall 1911 Cafetière, Tasse et Pipe
2023 SOLD for $ 11.3M by Christie's
Painted in the fall or winter 1911, Cafetière, Tasse et Pipe displays a wineglass, a coffee pot, a cup and a pipe set from foreground to background on a table in perspective. The features of these artefacts are easily recognizable within a well balanced composition in a very limited palette.
Confiscated by the Germans to Alphonse Kann in 1940, it was owned from ca 1945 by Dora Maar, probably a gift from Picasso but its re-acquisition by Picasso is not documented.
This oil on canvas 46 x 27 cm was sold for $ 11.3M from a lower estimate of $ 8M by Christie's on May 11, 2023, lot 10A in the sale of the Newhouse collection.
Confiscated by the Germans to Alphonse Kann in 1940, it was owned from ca 1945 by Dora Maar, probably a gift from Picasso but its re-acquisition by Picasso is not documented.
This oil on canvas 46 x 27 cm was sold for $ 11.3M from a lower estimate of $ 8M by Christie's on May 11, 2023, lot 10A in the sale of the Newhouse collection.
1911 Landscape by Malevich
2018 SOLD for £ 7.9M by Christie's
Relations are excellent between France and Russia, and the Parisian avant-garde artists diffuse up to Moscow. From 1908 exhibitions are organized in that city to confront the young artists of both countries. Also in 1908 Shchukin opened his residence to the public.
This momentum makes Natalia Goncharova and her companion Mikhail Larionov want to create a modern art more directly rooted in Russian traditions. The peasant scenes are one of their themes. It has been said that their group was also inspired by the figures of the icons. Around Repin the official artists spit their contempt.
Based in Moscow since 1904 Kazimir Malevich brings his contribution. In 1911 his Peasant Funeral is comparable to Un Enterrement à Ornans by Courbet but with a choice of colors in the style of Jawlensky. This work is lost. A 46 x 46 cm preparatory gouache showing the head of a bearded peasant was sold for £ 2.1M by Sotheby's on June 2, 2014.
A gouache on paper laid on board realized in the same year was sold for £ 7.9M by Christie's on June 20, 2018, lot 17 B.
This view of an imaginary village is almost unique in Malevich's art. The only other identified example is lost. With its large size 106 x 106 cm it appears as an experimental work in search of a synthesis of styles. The square format and the disappearance of the horizon are bold for this theme and perhaps inspired from Klimt, the variety of colors evokes Kandinsky and the intentionally naive drawing of the houses is in the post-cubist style of Lhote and Gleizes.
Malevich considered this artwork as important in his career. He often exhibited it until his catastrophic attempt of passing to the West in 1927 in which he lost control of his best works. It was restituted to his family in 2012 after hanging for 48 years at the Kunstmuseum Basel.
Grok thought :
Quote Christie's @ChristiesInc Apr 18, 2018
'Landscape' by #KazimirMalevich is estimated at £7,000,000-10,000,000 and will be a highlight of our #Impressionist and #ModernArt Evening Sale on 20 June in London. https://bit.ly/2HtQTWa
This momentum makes Natalia Goncharova and her companion Mikhail Larionov want to create a modern art more directly rooted in Russian traditions. The peasant scenes are one of their themes. It has been said that their group was also inspired by the figures of the icons. Around Repin the official artists spit their contempt.
Based in Moscow since 1904 Kazimir Malevich brings his contribution. In 1911 his Peasant Funeral is comparable to Un Enterrement à Ornans by Courbet but with a choice of colors in the style of Jawlensky. This work is lost. A 46 x 46 cm preparatory gouache showing the head of a bearded peasant was sold for £ 2.1M by Sotheby's on June 2, 2014.
A gouache on paper laid on board realized in the same year was sold for £ 7.9M by Christie's on June 20, 2018, lot 17 B.
This view of an imaginary village is almost unique in Malevich's art. The only other identified example is lost. With its large size 106 x 106 cm it appears as an experimental work in search of a synthesis of styles. The square format and the disappearance of the horizon are bold for this theme and perhaps inspired from Klimt, the variety of colors evokes Kandinsky and the intentionally naive drawing of the houses is in the post-cubist style of Lhote and Gleizes.
Malevich considered this artwork as important in his career. He often exhibited it until his catastrophic attempt of passing to the West in 1927 in which he lost control of his best works. It was restituted to his family in 2012 after hanging for 48 years at the Kunstmuseum Basel.
Grok thought :
Quote Christie's @ChristiesInc Apr 18, 2018
'Landscape' by #KazimirMalevich is estimated at £7,000,000-10,000,000 and will be a highlight of our #Impressionist and #ModernArt Evening Sale on 20 June in London. https://bit.ly/2HtQTWa
- This 2018 Christie's post promotes Kazimir Malevich's 1911 gouache "Landscape," a square-format Neo-Primitive work depicting stylized pink houses amid green trees and a fiery sunset, estimated at £7-10 million for their London Impressionist sale.
- Painted during Malevich's shift from figurative to abstract art, the piece fuses Cézanne's bold forms, Matisse's color, and Russian folk motifs, serving as a precursor to his groundbreaking Suprematism manifesto in 1915.
- The painting sold for £7.88 million on June 20, 2018, after restitution to Malevich's family in 2012; its exhibition history, including the 2014 Tate Modern retrospective, underscores its role in tracing the artist's evolution toward pure abstraction.
'Landscape' by #KazimirMalevich is estimated at £7,000,000-10,000,000 and will be a highlight of our #Impressionist and #ModernArt Evening Sale on 20 June in London.https://t.co/9awdXgf92P pic.twitter.com/hNggCmjiwF
— Christie's (@ChristiesInc) April 18, 2018
