1921
Le Grand Déjeuner by LEGER
Intro
After the war Fernand Léger restarts his avant-garde creativity. Cubism begins to become out of fashion due to the difficulty of interpretation of its images by the public. His mechanistic phase had been a response still imbued with cubism to the craze of the Futurists for the machines.
The human figure returns into his art. His world is now flat : the juxtaposition of mingled figurative forms creates the emotion. In 1920 the series of eight paintings titled La Femme au miroir and Les Femmes à la toilette starts this anti-Cubist style by one of the former Cubist pioneers.
From 1920 Léger prepares a painting that would have to be monumental on the intimate theme of the breakfast of three naked women. The line will have to be new, color will come next. A 73 x 92 cm oil on canvas painted in grisaille in 1920-1921 was sold for $ 4.8M by Christie's on November 1, 2005, lot 36.
The human figure returns into his art. His world is now flat : the juxtaposition of mingled figurative forms creates the emotion. In 1920 the series of eight paintings titled La Femme au miroir and Les Femmes à la toilette starts this anti-Cubist style by one of the former Cubist pioneers.
From 1920 Léger prepares a painting that would have to be monumental on the intimate theme of the breakfast of three naked women. The line will have to be new, color will come next. A 73 x 92 cm oil on canvas painted in grisaille in 1920-1921 was sold for $ 4.8M by Christie's on November 1, 2005, lot 36.
1
1921 La Tasse de Thé, final version
2009 SOLD for € 11.5M by Christie's
The artist also carries out studies of the individual characters.
Painted in 1921, la Tasse de thé (cup of tea), also designated by the artist as the Cup of chocolate, offers a striking contrast between the naked woman, whose flesh is pale, and surrounding objects in bright colors. This fat woman has not been chosen for any aesthetic feature: simply, she is the modern woman as conceived by the artist.
The final 92 x 65 cm version of the Tasse de Thé sub-theme was sold for € 11.5M by Christie's on February 23, 2009, lot 38 in the sale of the Saint-Laurent - Bergé collection. Otis annotated by the artist as the final version.
Painted in 1921, la Tasse de thé (cup of tea), also designated by the artist as the Cup of chocolate, offers a striking contrast between the naked woman, whose flesh is pale, and surrounding objects in bright colors. This fat woman has not been chosen for any aesthetic feature: simply, she is the modern woman as conceived by the artist.
The final 92 x 65 cm version of the Tasse de Thé sub-theme was sold for € 11.5M by Christie's on February 23, 2009, lot 38 in the sale of the Saint-Laurent - Bergé collection. Otis annotated by the artist as the final version.
2
1921 La Tasse de Thé, draft version
2010 SOLD for $ 8.1 M by Christie's
A smaller oil on canvas 65 x 50 cm of La Tasse de Thé is certainly a draft version It was sold for $ 8.1M by Christie's on November 3, 2010.
3
1921 Le Grand Déjeuner
2018 SOLD for $ 19.4M by Christie's
Everything is ready now for a full version with the three women. Titled Le Grand Déjeuner, an ultimate preparatory oil on canvas painted in bright colors in 1921 in format 65 x 92 cm was sold for $ 19.4M by Christie's on May 15, 2018, lot 11 A.
On the simple theme of the idle or quiet life of the new women, Léger has modified all iconographic conventions, in search of a balance between bright colors and forms stylized in thick lines. The anonymity of the figures reduces the narration, the intimate emotion is prevailing. The final version completed in 1922 measures 184 x 252 cm. It is kept at the MoMA.
The woman on the right side has the same attitude as the character of la Tasse de thé
On the simple theme of the idle or quiet life of the new women, Léger has modified all iconographic conventions, in search of a balance between bright colors and forms stylized in thick lines. The anonymity of the figures reduces the narration, the intimate emotion is prevailing. The final version completed in 1922 measures 184 x 252 cm. It is kept at the MoMA.
The woman on the right side has the same attitude as the character of la Tasse de thé
1921 MATISSE
1
L'Artiste et le Modèle Nu
2014 SOLD £ 6.8M by Christie's
During the war, Henri Matisse abandoned the violent contrasts of Fauvism. His art becomes softer, more curvy, more decorative. The atmosphere of Nice is suitable to this new need for privacy.
In his hotel room, he watches the perfect curves of naked women. For most of his career, Matisse used successively in long durations models who were young enough to be perfect.
On June 24, 2014, Christie's sold for £ 6.8M an oil on canvas 60 x 73 cm titled L'Artiste et le modèle nu, lot 7. Please watch the video shared by Christie's.
Antoinette sits at the center of the image. It is probably one of her last poses for Matisse, when she becomes pregnant in April 1921. She looks pensive but is perhaps only bored.
Far left, Henri gently clothed with his pajamas is at work. His hand runs the brush on the canvas. He looks at the nude woman with attention. The narrow room also offers opportunities for lines, curves and soft colors. The location in Nice is symbolized by the palm tree visible through the window.
The distance between the two characters excludes eroticism but not sensuality. The professional work of the artist is not disturbing Henri's married life. It is quite possible that the choice by Matisse of this theme of bearded artist and nude woman has inspired Picasso, who without hesitation crossed the limits of lust.
In his hotel room, he watches the perfect curves of naked women. For most of his career, Matisse used successively in long durations models who were young enough to be perfect.
On June 24, 2014, Christie's sold for £ 6.8M an oil on canvas 60 x 73 cm titled L'Artiste et le modèle nu, lot 7. Please watch the video shared by Christie's.
Antoinette sits at the center of the image. It is probably one of her last poses for Matisse, when she becomes pregnant in April 1921. She looks pensive but is perhaps only bored.
Far left, Henri gently clothed with his pajamas is at work. His hand runs the brush on the canvas. He looks at the nude woman with attention. The narrow room also offers opportunities for lines, curves and soft colors. The location in Nice is symbolized by the palm tree visible through the window.
The distance between the two characters excludes eroticism but not sensuality. The professional work of the artist is not disturbing Henri's married life. It is quite possible that the choice by Matisse of this theme of bearded artist and nude woman has inspired Picasso, who without hesitation crossed the limits of lust.
2
Les Régates de Nice
2017 SOLD for $ 16.6M by Christie's
Henri Matisse is captivated by the light of Nice. In 1921 he does not yet have a permanent residence in that city. He spends several months at the Hôtel Méditerranée and works in his room where a large French window overlooks the Promenade des Anglais and the Baie des Anges.
On November 13, 2017, Christie's sold for $ 16.6M from a lower estimate of $ 12M Les Régates de Nice, oil on canvas 81 x 65 cm painted in spring 1921, lot 18 A.
According to the taste of the artist, this painting is well balanced both as an interior and exterior scene with the pleasant colors of the Midi, from the vase of flowers on the table to the small white sails of the regatta on the deep blue sea.
Two quiet young women enliven this intimate scene. Standing in the window, the very young Henriette is the new favorite model of the artist, succeeding in this role to Antoinette who is pregnant. She looks at the sea. Her long skirt and her hair cut in the bowl are typical of the fashion of the roaring twenties.
From the beginning of their collaboration the friendship is deep between the nice Henriette and the Matisse family. The other woman on the balcony is Marguerite, Henri's daughter, less visible, curled up in a large armchair because of her fragile health.
On November 13, 2017, Christie's sold for $ 16.6M from a lower estimate of $ 12M Les Régates de Nice, oil on canvas 81 x 65 cm painted in spring 1921, lot 18 A.
According to the taste of the artist, this painting is well balanced both as an interior and exterior scene with the pleasant colors of the Midi, from the vase of flowers on the table to the small white sails of the regatta on the deep blue sea.
Two quiet young women enliven this intimate scene. Standing in the window, the very young Henriette is the new favorite model of the artist, succeeding in this role to Antoinette who is pregnant. She looks at the sea. Her long skirt and her hair cut in the bowl are typical of the fashion of the roaring twenties.
From the beginning of their collaboration the friendship is deep between the nice Henriette and the Matisse family. The other woman on the balcony is Marguerite, Henri's daughter, less visible, curled up in a large armchair because of her fragile health.
1921 For the Album of Guangbin Feng by Qi Baishi
2021 SOLD for RMB 92M by Holly's
In 1921 Qi Baishi, signing Qi Huang, prepared an album of grass and insects for his friend Cao Kun. It is made of 16 paintings in ink and color on silk 25 x 32 cm each. The brushwork is exceptionally fine for this artist who preferred a modern stylization. The title, "For the album of Guangbin Feng", is a reference to a song from the Zhou dynasty.
It was sold for RMB 92M by Holly's on December 11, 2021, lot 53.
It was sold for RMB 92M by Holly's on December 11, 2021, lot 53.
1921 L'Homme au Foulard Rouge by Soutine
2007 SOLD for £ 8.8M by Sotheby's
Portraits by Soutine in his Céret period are characterized by expressive poses whether the sitter is or not identified, bourgeois or poor, and by rich colors in the follow of Modigliani.
In a post-Cubist approach the artist tries slight deformations of face and body for strengthening the impression of a physical presence and individuality while restraining the narrative.
L'Homme au Foulard Rouge has a well lit frontal face with broad forehead and pointed chin, and a striking gaze including one fully circled eye.
This oil on canvas 100 x 70 cm was dated 1924 by some sources and ca 1921 by Christie's in 1997. The earlier date coming within the Céret period in the year after Modigliani's death is plausible.
It was sold for £ 8.8M by Sotheby's on February 5, 2007, lot 40. A comparable example is the portrait of the Swiss painter Emile Lejeune, dated 1922-1923.
In a post-Cubist approach the artist tries slight deformations of face and body for strengthening the impression of a physical presence and individuality while restraining the narrative.
L'Homme au Foulard Rouge has a well lit frontal face with broad forehead and pointed chin, and a striking gaze including one fully circled eye.
This oil on canvas 100 x 70 cm was dated 1924 by some sources and ca 1921 by Christie's in 1997. The earlier date coming within the Céret period in the year after Modigliani's death is plausible.
It was sold for £ 8.8M by Sotheby's on February 5, 2007, lot 40. A comparable example is the portrait of the Swiss painter Emile Lejeune, dated 1922-1923.
1921 Belle Haleine by Duchamp
2009 SOLD for € 8.9M by Christie's
Obviously, Rrose Selavy actually existed, since she was invented by Marcel Duchamp. Consider the chronology.
In 1913 (I like that year in the history of art), Duchamp invented the ready-made, to recover a usual object and to present it as a work of art signed with an outlandish pseudonym. The first ready-made is a bicycle wheel.
Duchamp was also a fan of coining multiple puns with hidden meaning in French and English. LHOOQ is a ready-made of Mona Lisa, with a moustache and a barbichette, 1919.
The following year, seeking a pseudonym to sign his ready-mades, Duchamp built Rrose Selavy, whose main meaning is "Eros, c'est la vie" (Eros is Life). To give a life to Rrose, the artist is photographed as a woman.
A ready-made for Rrose Selavy, dated 1921, is titled Belle Haleine - Eau de Voilette (literally Beautiful Breath - Veil Water), it is a perfume bottle and its box. Duchamp changed the label, now decorated with a portrait of Rrose Selavy by Man Ray. The wit in art is so rare ... that we can really consider this work as exceptional.
Coming from the Saint-Laurent - Bergé collection, it was sold for € 8.9M from a lower estimate of € 1M by Christie's on February 23, 2009.
In 1913 (I like that year in the history of art), Duchamp invented the ready-made, to recover a usual object and to present it as a work of art signed with an outlandish pseudonym. The first ready-made is a bicycle wheel.
Duchamp was also a fan of coining multiple puns with hidden meaning in French and English. LHOOQ is a ready-made of Mona Lisa, with a moustache and a barbichette, 1919.
The following year, seeking a pseudonym to sign his ready-mades, Duchamp built Rrose Selavy, whose main meaning is "Eros, c'est la vie" (Eros is Life). To give a life to Rrose, the artist is photographed as a woman.
A ready-made for Rrose Selavy, dated 1921, is titled Belle Haleine - Eau de Voilette (literally Beautiful Breath - Veil Water), it is a perfume bottle and its box. Duchamp changed the label, now decorated with a portrait of Rrose Selavy by Man Ray. The wit in art is so rare ... that we can really consider this work as exceptional.
Coming from the Saint-Laurent - Bergé collection, it was sold for € 8.9M from a lower estimate of € 1M by Christie's on February 23, 2009.
1921 The Red Prince Mare by Munnings
2004 SOLD for $ 7.8M by Sotheby's
Horses with their jockeys prepare for the race. This theme extremely popular in England and the United States made the glory of Alfred Munnings.
Munnings would not appreciate that his work is discussed as modern art, a genre he castigated when he reached the position of President of the Royal Academy of Art.
Yet the attitudes of his race horses in action are much more beautiful than those of his former colleagues, like Herring in his country or de Dreux in France.
J.H. "Jock" Whitney was a great owner of racehorses. His collection of paintings, sold by Sotheby's on May 5, 2004, included two masterpieces on this theme. The Red Prince Mare, oil on canvas 102 x 152 cm painted by Munnings in 1921, was sold for $ 7.8M. Les Courses au Bois de Boulogne, painted by Manet in 1872, six years before the decomposition of the gallop by Muybridge, was sold for $ 26.3M.
Munnings would not appreciate that his work is discussed as modern art, a genre he castigated when he reached the position of President of the Royal Academy of Art.
Yet the attitudes of his race horses in action are much more beautiful than those of his former colleagues, like Herring in his country or de Dreux in France.
J.H. "Jock" Whitney was a great owner of racehorses. His collection of paintings, sold by Sotheby's on May 5, 2004, included two masterpieces on this theme. The Red Prince Mare, oil on canvas 102 x 152 cm painted by Munnings in 1921, was sold for $ 7.8M. Les Courses au Bois de Boulogne, painted by Manet in 1872, six years before the decomposition of the gallop by Muybridge, was sold for $ 26.3M.
1921 Homme et Femme by Picasso
2013 SOLD for $ 6.3M by Christie's
After the end of the war, Pablo Picasso relies on Cubism for the renewal of his art. His life changes, including the birth of his first child, Paulo, on February 4, 1921. Pablo is 40 years old.
On April 8, Pablo displays this new adult responsibility in a large pastel titled Homme et Femme, 105 x 74 cm. Both characters are nude, sitting side by side, each one with crossed feet, as if watching that television which was not yetinvented. They are as chaste as Adam and Eve before the apple.
What is important is their presence and attitude. The head is a rudimentary and reduced trapezoid and the square shoulders remind the desires of geometry from the previous decade.
We do not know who they are. The man is too tall to be a self-portrait of the artist. In a totally opposite drawing style, they are the successors of the acrobats of the blue period, occupied with the mystery and the constraints of their own lives.
This drawing was sold for $ 5.3M by Sotheby's on November 2, 2010 and for $ 6.3M by Christie's on May 8, 2013, lot 38.
On April 8, Pablo displays this new adult responsibility in a large pastel titled Homme et Femme, 105 x 74 cm. Both characters are nude, sitting side by side, each one with crossed feet, as if watching that television which was not yetinvented. They are as chaste as Adam and Eve before the apple.
What is important is their presence and attitude. The head is a rudimentary and reduced trapezoid and the square shoulders remind the desires of geometry from the previous decade.
We do not know who they are. The man is too tall to be a self-portrait of the artist. In a totally opposite drawing style, they are the successors of the acrobats of the blue period, occupied with the mystery and the constraints of their own lives.
This drawing was sold for $ 5.3M by Sotheby's on November 2, 2010 and for $ 6.3M by Christie's on May 8, 2013, lot 38.
