19th Century
See also : Top 10 Painting Art on paper Groups Children Music and dance Landscape Cities Paris Flowers The Woman Nude France Monet Vétheuil to Giverny Cézanne Seurat and Signac Renoir Gauguin Van Gogh Northern Europe
1876 Bal du Moulin de la Galette by Renoir
1990 SOLD for $ 78 M including premium by Sotheby's
narrated in 2020
In 1863 Charles Gleyre admonishes Monet because he does not follow the model of the antique. Bringing with him three friends, Sisley, Renoir and Bazille, Monet slams the door and manages to paint outdoors.
Their temperaments are different. They are young and tempted by the good life of dancing balls. While Monet is overtaken by his wife, Renoir expresses the carefree joie de vivre of the groups to which he applies the impressionist style. Le Bal du Moulin de la Galette in 1876 and Le Déjeuner des Canotiers, exhibited in 1882, are among the most important masterpieces of painting.
Renoir painted two identical versions of the Moulin de la Galette. The largest, 131 x 175 cm, became the property of the French State through the Caillebotte bequest and is currently at the Musée d'Orsay.
The other version is an oil on canvas 78 x 114 cm damaged by folding. Coming from the Whitney collection, it was sold for $ 78M including premium by Sotheby's on May 17, 1990. The image is shared by Wikimedia.
The buyer was a Japanese collector named Ryoei Saito, who had acquired the Portrait of Dr Gachet by Van Gogh two days earlier at Christies for $ 82M including premium. Saito creates some terror in the art world by announcing that at his death he will be cremated with the two paintings to avoid that enormous inheritance rights are required to his heirs.
Saito died in 1996. His threat was not carried out because his wealth had turned down and the artworks were sequestered by his creditors, but the two paintings were never seen again. The Van Gogh was reportedly located in 2007 in the collection of an Austrian financier who has since gone bankrupt.
Their temperaments are different. They are young and tempted by the good life of dancing balls. While Monet is overtaken by his wife, Renoir expresses the carefree joie de vivre of the groups to which he applies the impressionist style. Le Bal du Moulin de la Galette in 1876 and Le Déjeuner des Canotiers, exhibited in 1882, are among the most important masterpieces of painting.
Renoir painted two identical versions of the Moulin de la Galette. The largest, 131 x 175 cm, became the property of the French State through the Caillebotte bequest and is currently at the Musée d'Orsay.
The other version is an oil on canvas 78 x 114 cm damaged by folding. Coming from the Whitney collection, it was sold for $ 78M including premium by Sotheby's on May 17, 1990. The image is shared by Wikimedia.
The buyer was a Japanese collector named Ryoei Saito, who had acquired the Portrait of Dr Gachet by Van Gogh two days earlier at Christies for $ 82M including premium. Saito creates some terror in the art world by announcing that at his death he will be cremated with the two paintings to avoid that enormous inheritance rights are required to his heirs.
Saito died in 1996. His threat was not carried out because his wealth had turned down and the artworks were sequestered by his creditors, but the two paintings were never seen again. The Van Gogh was reportedly located in 2007 in the collection of an Austrian financier who has since gone bankrupt.
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1888 Les Poseuses by Seurat
2022 SOLD for $ 150M by Christie's
Georges Seurat managed his career as a continuous series of breakthroughs. A few large scale masterpieces preceded by many studies in paintings and drawings were viewed by him as a fight against the establishment. He dubbed them his "toiles de lutte".
His first masterpiece is Une baignade à Asnières, oil on canvas 200 x 300 cm, exhibited in 1884 at the first Salon des Indépendants. The 24 year old artist revealed his indirect approach of color inspired by the theories of vision forwarded by Chevreul. The colors of Une baignade reach a softness by other methods than the impressionniste brushstroke or the pastel. The new art is named post-impressionnisme by Fénéon in 1886.
The second masterpiece, Un dimanche d'été à l'île de la Grande Jatte, of similar size, is exhibited in 1886 at the eight and final Exposition des Impressionnistes where it generates a discord between the historical impressionists supported by Degas and the post impressionists supported by Pissarro. Impressionnisme as a group was dead.
La Grande Jatte reuses the pointillism but in dull colors. Seurat had preferred composing a complex anti-bourgeois narration including humor and symbols. The work was too advanced when Seurat influenced by Signac appreciated that its cold colors were a mistake.
Galvanized by this legitimate misunderstanding of the public, Seurat started a new project in bright pointillist colors, Les Poseuses. This time the anti-bourgeois mood is replaced by subtle references to art history including himself.
The scene is staged in Seurat's studio. The left wall is covered by a truncated and slightly modified version of La Grande Jatte. The three drawings hanging on the back wall are a reference to Seurat's painstaking creative process.
Les poseuses are three positions of a model in full nudity, reminding the Three Graces. The standing figure in the center is a Venus pudica. The two side figures are seated, one from the back like Ingres's Grande baigneuse while the other in profile removes a stocking in the attitude of the Spinario.
The 200 x 250 cm canvas was exhibited in spring 1888 at the Salon des Indépendants. This painting also broke a taboo by revealing that women in painting were indeed staged by professional models.
Les Poseuses, Ensemble (petite version) was painted in 1888, arguably as a replica. Its small size, 39 x 50 cm, enabled larger dots for a vibrant color rendering. Being beside Cézanne's Montagne Sainte-Victoire a cornerstone of the Paul G. Allen collection, this oil on canvas was sold for $ 150M by Christie's on November 9, 2022, lot 8. Allen, a co-founder of Microsoft, had been appealed by pointillism as a precursor to digital imagery.
His first masterpiece is Une baignade à Asnières, oil on canvas 200 x 300 cm, exhibited in 1884 at the first Salon des Indépendants. The 24 year old artist revealed his indirect approach of color inspired by the theories of vision forwarded by Chevreul. The colors of Une baignade reach a softness by other methods than the impressionniste brushstroke or the pastel. The new art is named post-impressionnisme by Fénéon in 1886.
The second masterpiece, Un dimanche d'été à l'île de la Grande Jatte, of similar size, is exhibited in 1886 at the eight and final Exposition des Impressionnistes where it generates a discord between the historical impressionists supported by Degas and the post impressionists supported by Pissarro. Impressionnisme as a group was dead.
La Grande Jatte reuses the pointillism but in dull colors. Seurat had preferred composing a complex anti-bourgeois narration including humor and symbols. The work was too advanced when Seurat influenced by Signac appreciated that its cold colors were a mistake.
Galvanized by this legitimate misunderstanding of the public, Seurat started a new project in bright pointillist colors, Les Poseuses. This time the anti-bourgeois mood is replaced by subtle references to art history including himself.
The scene is staged in Seurat's studio. The left wall is covered by a truncated and slightly modified version of La Grande Jatte. The three drawings hanging on the back wall are a reference to Seurat's painstaking creative process.
Les poseuses are three positions of a model in full nudity, reminding the Three Graces. The standing figure in the center is a Venus pudica. The two side figures are seated, one from the back like Ingres's Grande baigneuse while the other in profile removes a stocking in the attitude of the Spinario.
The 200 x 250 cm canvas was exhibited in spring 1888 at the Salon des Indépendants. This painting also broke a taboo by revealing that women in painting were indeed staged by professional models.
Les Poseuses, Ensemble (petite version) was painted in 1888, arguably as a replica. Its small size, 39 x 50 cm, enabled larger dots for a vibrant color rendering. Being beside Cézanne's Montagne Sainte-Victoire a cornerstone of the Paul G. Allen collection, this oil on canvas was sold for $ 150M by Christie's on November 9, 2022, lot 8. Allen, a co-founder of Microsoft, had been appealed by pointillism as a precursor to digital imagery.
1888-1890 Montagne Sainte-Victoire by Cézanne
2022 SOLD for $ 138M by Christie's
Paul Cézanne was born in Aix-en-Provence. In the early 1880s he shares his time between Pontoise and Provence. In 1886 his father dies. Paul may now marry his long time mistress Hortense and moves to Gardanne with his family.
The view on the Montagne Sainte-Victoire is magnificent from his new home. The mountain is standing out alone in a nearly symmetrical shape on the horizon. Desiring now to develop his art conceptions in seclusion, Paul takes it as a regular theme, sometimes framed by a large pine in the foreground.
New pictorial experiments are beginning. Cézanne manages to give up the optical truth of the Impressionnistes. The landscape becomes an orderly construction of geometrical shapes, providing the emotional sensation of another reality.
An oil on canvas 65 x 80 cm painted in 1888 or slightly later displays the dominating Montagne is all its purity, surrounded by the countryside without its real foreground of olive trees, roads and houses.
The flattened geometric mountain is colored in a range of soft blues, lilacs and white in an unprecedented balance of myriads of brush strokes. The underlined horizon are resolutely geometrical. Indeed impressionism and photography could not display such a powerful effect.
This painting was sold for $ 38.5M by Phillips, de Pury and Luxembourg on May 7, 2001, lot 5, and for $ 138M by Christie's on November 9, 2022, lot 14. The image is shared by Wikimedia.
The reality of the canceled foreground disturbed the artist. From 1902 his workshop at Les Lauves provides every morning to the aging artist the global view of the Montagne Sainte-Victoire as he had dreamed it in the 1880s, nevertheless with a loss in the symmetry of the peak..
The view on the Montagne Sainte-Victoire is magnificent from his new home. The mountain is standing out alone in a nearly symmetrical shape on the horizon. Desiring now to develop his art conceptions in seclusion, Paul takes it as a regular theme, sometimes framed by a large pine in the foreground.
New pictorial experiments are beginning. Cézanne manages to give up the optical truth of the Impressionnistes. The landscape becomes an orderly construction of geometrical shapes, providing the emotional sensation of another reality.
An oil on canvas 65 x 80 cm painted in 1888 or slightly later displays the dominating Montagne is all its purity, surrounded by the countryside without its real foreground of olive trees, roads and houses.
The flattened geometric mountain is colored in a range of soft blues, lilacs and white in an unprecedented balance of myriads of brush strokes. The underlined horizon are resolutely geometrical. Indeed impressionism and photography could not display such a powerful effect.
This painting was sold for $ 38.5M by Phillips, de Pury and Luxembourg on May 7, 2001, lot 5, and for $ 138M by Christie's on November 9, 2022, lot 14. The image is shared by Wikimedia.
The reality of the canceled foreground disturbed the artist. From 1902 his workshop at Les Lauves provides every morning to the aging artist the global view of the Montagne Sainte-Victoire as he had dreamed it in the 1880s, nevertheless with a loss in the symmetry of the peak..
April 1888 Verger by van Gogh
2022 SOLD for $ 117M by Christie's
Vincent van Gogh moves to Arles in February 1888. He knows what he wants : the perfect harmony of a landscape that will allow him to enter into communion with the land. He immediately starts working. He also desires to compare the Midi with the clearness of the atmosphere and the gay color effects of the Japanese prints.
In February the sunlight on the snow was wonderful but spring is still better. Nature awakens. All over the area in the orchards, pink and white blossoms dazzle under the Provençal sun. Desiring to express a tremendous gaiety, Vincent is very prolific with 14 paintings in five weeks from March 25 of the peach, apricot, plum, pear, cherry and almond trees, in a fury to process that wonderful theme before the spring colors are over.
The trees are single or in groups, with no human presence. His brush is in full freedom with no preconceived process from impasto to uncovered canvas.
On November 9, 2022, Christie's sold for $ 117M a Verger of pink peach trees, lot 22. This oil on canvas painted in April 1888 was consigned to his brother Theo in the next month in his first supply from Arles. The image is shared by Wikimedia.
The composition of this panoramic format 65 x 80 cm is very harmonious, with the dark horizon of cypress trees that does not overlap the delicate tones of the orchard. The dotted sky mingles with the blooming branches, arguably inspired from the brushstroke of Seurat whom Vincent had visited in February just before leaving Paris.
On May 1, 1888, Vincent rents some rooms in the Maison Jaune in order to install his studio and share his enthusiasm with other artists.
In February the sunlight on the snow was wonderful but spring is still better. Nature awakens. All over the area in the orchards, pink and white blossoms dazzle under the Provençal sun. Desiring to express a tremendous gaiety, Vincent is very prolific with 14 paintings in five weeks from March 25 of the peach, apricot, plum, pear, cherry and almond trees, in a fury to process that wonderful theme before the spring colors are over.
The trees are single or in groups, with no human presence. His brush is in full freedom with no preconceived process from impasto to uncovered canvas.
On November 9, 2022, Christie's sold for $ 117M a Verger of pink peach trees, lot 22. This oil on canvas painted in April 1888 was consigned to his brother Theo in the next month in his first supply from Arles. The image is shared by Wikimedia.
The composition of this panoramic format 65 x 80 cm is very harmonious, with the dark horizon of cypress trees that does not overlap the delicate tones of the orchard. The dotted sky mingles with the blooming branches, arguably inspired from the brushstroke of Seurat whom Vincent had visited in February just before leaving Paris.
On May 1, 1888, Vincent rents some rooms in the Maison Jaune in order to install his studio and share his enthusiasm with other artists.
1889 The Field beyond the Window
2017 SOLD for $ 81M including premium
On May 8, 1889 Vincent van Gogh enters the asylum for insanes of Dr. Peyron in Saint-Rémy de Provence. Rightly considered as dangerous for himself, he is not allowed to walk outside but a small workshop is attributed to him. In this narrow universe Vincent interprets the works of other artists and looks beyond the window through the thick bars.
On June 18, Vincent paints La Nuit étoilée in which the stars are transformed into whirlwinds of fire. Anxious about the loss of control of his mental health, Vincent believes being appeased by the energy of his hallucination. Doctors fear another major crisis. They are right : it happens in mid-July.
Supervised by the doctors, Vincent does not paint during his crises. He takes his brushes again in the last days of August. The window of his room looks to the east. The sun rising above the wheat field is blinding and hypnotic, and also reveals the bright colors that constitute the soil. The colors are intermingled like swirls, scars and tongues of fire with an extreme violence.
This oil on canvas 50 x 65 cm is titled Laboureur dans un champ. The man, the horse and the plow in mid-distance against the light offer a new opus of the favorite theme of Vincent's career, a result of his lifelong empathy with the soil workers.
Healing through hard work that released his impulses was only an illusion but it produced unprecedented masterpieces. The next crisis comes in December.
Laboureur dans un champ will be sold as lot 28 A by Christie's in New York on November 13. Please watch the video shared by the auction house. The image below is shared by Wikimedia.
On June 18, Vincent paints La Nuit étoilée in which the stars are transformed into whirlwinds of fire. Anxious about the loss of control of his mental health, Vincent believes being appeased by the energy of his hallucination. Doctors fear another major crisis. They are right : it happens in mid-July.
Supervised by the doctors, Vincent does not paint during his crises. He takes his brushes again in the last days of August. The window of his room looks to the east. The sun rising above the wheat field is blinding and hypnotic, and also reveals the bright colors that constitute the soil. The colors are intermingled like swirls, scars and tongues of fire with an extreme violence.
This oil on canvas 50 x 65 cm is titled Laboureur dans un champ. The man, the horse and the plow in mid-distance against the light offer a new opus of the favorite theme of Vincent's career, a result of his lifelong empathy with the soil workers.
Healing through hard work that released his impulses was only an illusion but it produced unprecedented masterpieces. The next crisis comes in December.
Laboureur dans un champ will be sold as lot 28 A by Christie's in New York on November 13. Please watch the video shared by the auction house. The image below is shared by Wikimedia.
1890 Portrait du Dr Gachet by Van Gogh
1990 SOLD for 82.5 M$ including premium by Christie's
narrated in 2020
Vincent Van Gogh had lost his autonomy but his internment in Saint-Rémy was not a lasting solution. On May 20, 1890 his brother Theo installed him at the Auberge Ravoux in Auvers-sur-Oise, near the house of Doctor Gachet who could help him. Vincent spent the last 70 days of his life there. In his frenzy of creativity, he painted about 80 works during this short period.
Gachet, 62, is a doctor, a psychiatrist and a friend of the artists. The subject of his doctoral thesis had been a study on melancholy. He advised several members of the Impressionist group on their health problems and had attempted to assist the engraver Charles Méryon in the final phase of his internment.
Vincent is surprised by their first meeting, during which he considers that Gachet is crazier than him. However, the doctor is skillful : in two days he gains the confidence of this hypersensitive artist.
For his art, Vincent seeks to express the deepest psychological aspects. He is still and always passionate about the examples of his predecessors, to better overcome them. He admires the expression of madness in the imaginary portrait by Delacroix of the poet Torquato Tasso in the madhouse of Ferrara.
The Portrait of Dr Gachet is an oil on canvas 67 x 56 cm painted in June 1890. Vincent commented on this work in a letter to his sister. He wanted to display the melancholy of his new friend while recognizing that his expression can be considered a grimace. He sums up his qualities in four words : Sad but gentle and yet clear and intelligent.
Gachet has his head resting on his right hand, allowing a diagonal composition of great expressive force. The face is drawn with the hard lines of the best works of Vincent. On the table, two bright yellow books balance the composition. A branch of digitalis, a medicinal herb, symbolizes Gachet's main activity.
The Portrait of Dr Gachet was sold for $ 82.5M including premium by Christie's on May 15, 1990. The image is shared by Wikimedia.
Gachet, 62, is a doctor, a psychiatrist and a friend of the artists. The subject of his doctoral thesis had been a study on melancholy. He advised several members of the Impressionist group on their health problems and had attempted to assist the engraver Charles Méryon in the final phase of his internment.
Vincent is surprised by their first meeting, during which he considers that Gachet is crazier than him. However, the doctor is skillful : in two days he gains the confidence of this hypersensitive artist.
For his art, Vincent seeks to express the deepest psychological aspects. He is still and always passionate about the examples of his predecessors, to better overcome them. He admires the expression of madness in the imaginary portrait by Delacroix of the poet Torquato Tasso in the madhouse of Ferrara.
The Portrait of Dr Gachet is an oil on canvas 67 x 56 cm painted in June 1890. Vincent commented on this work in a letter to his sister. He wanted to display the melancholy of his new friend while recognizing that his expression can be considered a grimace. He sums up his qualities in four words : Sad but gentle and yet clear and intelligent.
Gachet has his head resting on his right hand, allowing a diagonal composition of great expressive force. The face is drawn with the hard lines of the best works of Vincent. On the table, two bright yellow books balance the composition. A branch of digitalis, a medicinal herb, symbolizes Gachet's main activity.
The Portrait of Dr Gachet was sold for $ 82.5M including premium by Christie's on May 15, 1990. The image is shared by Wikimedia.
Meules by MONET
Intro
After the Impression Soleil Levant it took nearly two decades for Monet to jump to a still more decisive step, with the Meules.
He had been very active throughout that period. His paintings of the Gare St Lazare in 1877 constituted a series that displayed the variations in color depending on the intensity of sunlight and on the thickness of smoke from the trains. His solitary travel in Normandy in 1882 for comforting after the death of Camille is very important : Monet demonstrates to himself that lighting is better than topography for expressing a mood.
He had been very active throughout that period. His paintings of the Gare St Lazare in 1877 constituted a series that displayed the variations in color depending on the intensity of sunlight and on the thickness of smoke from the trains. His solitary travel in Normandy in 1882 for comforting after the death of Camille is very important : Monet demonstrates to himself that lighting is better than topography for expressing a mood.
1
1890 W1273 Meules
2019 SOLD for $ 110M by Sotheby's
Every year the grain stacks will remain alone in the middle of the fields as temporary semaphores that break until the wheat threshing of the spring the monotonous ground devoid of its plants by winter. They will be the suitable support for Monet to perform his observations of colors through all weather conditions and at all moments of time.
Monet loves this theme that is typical of country life without the need to add humans or birds. He begins at the end of summer 1890 with five landscapes in which two haystacks are distant from each other.
According to the sequence established by Wildenstein, the next sub-series is composed of two oil paintings on canvas 73 x 93 cm executed during the autumn of 1890. The alignment of two haystacks leads to the tall trees on the horizon, against the light in the last rays of sunset. For the first time the rest of the image is minimized. The predominance of the expression of colors over theme and form opens the way to modern art.
The second of these pictures, W1273, goes even further by managing to avoid the shadows of the two stacks. All that remains is the light that plays with the contours of stacks and trees and reveals the shimmering colors of the field. It was dated 1891 by the artist, certainly by reference to the year of the first public exhibition of the series, in the gallery of Durand-Ruel.
W1273 was sold for $ 110M from a lower estimate of $ 55M by Sotheby's on May 14, 2019, lot 8. Please watch the video shared by the auction house.
Monet loves this theme that is typical of country life without the need to add humans or birds. He begins at the end of summer 1890 with five landscapes in which two haystacks are distant from each other.
According to the sequence established by Wildenstein, the next sub-series is composed of two oil paintings on canvas 73 x 93 cm executed during the autumn of 1890. The alignment of two haystacks leads to the tall trees on the horizon, against the light in the last rays of sunset. For the first time the rest of the image is minimized. The predominance of the expression of colors over theme and form opens the way to modern art.
The second of these pictures, W1273, goes even further by managing to avoid the shadows of the two stacks. All that remains is the light that plays with the contours of stacks and trees and reveals the shimmering colors of the field. It was dated 1891 by the artist, certainly by reference to the year of the first public exhibition of the series, in the gallery of Durand-Ruel.
W1273 was sold for $ 110M from a lower estimate of $ 55M by Sotheby's on May 14, 2019, lot 8. Please watch the video shared by the auction house.
An enduring symbol of Impressionism from Claude Monet's iconic Haystacks series will lead an important private collection of 8 Impressionist works on offer in #SothebysImpMod Evening Sale on 14 May in #NYC. Learn more: https://t.co/B4xVl8QWFA pic.twitter.com/SMDorfOowE
— Sotheby's (@Sothebys) March 15, 2019
1891 Meule by Monet
2016 SOLD for $ 81M by Christie's
Claude Monet was not a theorist. He progressed by releasing his emotion. The Impression soleil levant painted in 1872 fades within the fog the real features of the view. This painting is a burst of intuition and is described in the history of art as the cornerstone of Impressionnisme. However it took nearly two decades for the artist to jump to a still more decisive step, with the Meules.
He had been very active throughout that period. His paintings of the Gare St Lazare in 1877 constituted a series that displayed the variations in color depending on the intensity of sunlight and on the thickness of smoke from the trains. His solitary travel in Normandy in 1882 for comforting after the death of Camille is very important : Monet demonstrates to himself that lighting is better than topography for expressing a mood.
When comes the end of summer 1890 Monet is ready for a new experience. The vegetation will disappear with winter. As for every year the grain stacks will remain alone in the middle of the fields until the wheat threshing of the spring. They will be the perfect support for Monet to perform his observations of colors through all weather conditions and at all moments of time. This series totaled 25 paintings.
Three of them have been specifically grouped as a ultimate achievement of the Meules in the catalogue raisonné prepared by Daniel Wildenstein. Only one stack is visible in front of a retracted landscape. It is truncated either from top or from one side. The color emotion is not challenged by that figurative feature reduced to nothing more than a bulky triangle. In 1896, in front of one of these paintings, Kandinsky was dazzled.
Another Meule from that group of three, oil on canvas 73 x 92 cm painted in 1891, reference Wildenstein 1290, was sold for $ 12M including premium by Sotheby's on 11 May 1999. It is now for sale by Christie's in New York on November 16, lot 9 B. The targeted price was disclosed at around $ 45M by the specialized press.
Please watch the video shared by Christie's. The image below is shared by Wikimedia.
He had been very active throughout that period. His paintings of the Gare St Lazare in 1877 constituted a series that displayed the variations in color depending on the intensity of sunlight and on the thickness of smoke from the trains. His solitary travel in Normandy in 1882 for comforting after the death of Camille is very important : Monet demonstrates to himself that lighting is better than topography for expressing a mood.
When comes the end of summer 1890 Monet is ready for a new experience. The vegetation will disappear with winter. As for every year the grain stacks will remain alone in the middle of the fields until the wheat threshing of the spring. They will be the perfect support for Monet to perform his observations of colors through all weather conditions and at all moments of time. This series totaled 25 paintings.
Three of them have been specifically grouped as a ultimate achievement of the Meules in the catalogue raisonné prepared by Daniel Wildenstein. Only one stack is visible in front of a retracted landscape. It is truncated either from top or from one side. The color emotion is not challenged by that figurative feature reduced to nothing more than a bulky triangle. In 1896, in front of one of these paintings, Kandinsky was dazzled.
Another Meule from that group of three, oil on canvas 73 x 92 cm painted in 1891, reference Wildenstein 1290, was sold for $ 12M including premium by Sotheby's on 11 May 1999. It is now for sale by Christie's in New York on November 16, lot 9 B. The targeted price was disclosed at around $ 45M by the specialized press.
Please watch the video shared by Christie's. The image below is shared by Wikimedia.
1895 The Scream of Nature
2012 SOLD 120 M$ including premium
The Scream by Edvard Munch has every reason to be the most famous image of modern art.
The artist, exalted by the meaning of life, is constantly navigating the limits of a morbid insanity. In 1889, during the Exposition Universelle in Paris, he is fascinated by the intensity of emotions expressed by Van Gogh, Gauguin and Toulouse-Lautrec.
In early 1892, Munch lives his own road to Damascus. He sees the sky ablaze at sunset, like an indomitable force of nature which has invaded the fjord in a terrible explosion of colors. He writes in his notebook a short poem stating that the happening had generated an intense fatigue to him.
No doubt he will be mesmerized by this vision for over a year, before daring to translate the memory of his anxiety as a painting and a pastel with a title evocating his inspiration: the Scream of Nature.
It took him another two years to exorcise his anxiety. In 1895, he made a second pastel, 79 x 59 cm, to be sold by Sotheby's in New York on May 2. Now conscious of having created a masterpiece, he prepares on the same year the first lithography. The fourth and last version of Munch's Scream is much later.
The pastel of 1895 is exceptional, and Sotheby's expects $ 80M. This is the only version where the artist has included the poem, hand painted into the frame. The two friends are still there in the distance, but are not any more interested in the scene, leaving the main character lonely struggling with his own dehumanization.
This is the only one of the four artworks to be still in private hands, and it had been little seen outside Norway. It is illustrated on Sotheby's page announcing the sale.
POST SALE COMMENT
Ite missa est. In a few words, everything is told: world record for a work of art, $ 120M including premium.
Rarely a record has been so deserved: last original in private hands, this pastel also marks the top of the emotional maturity of the artist on this theme, with dazzling colors.
The image is shared by Wikimedia.
The artist, exalted by the meaning of life, is constantly navigating the limits of a morbid insanity. In 1889, during the Exposition Universelle in Paris, he is fascinated by the intensity of emotions expressed by Van Gogh, Gauguin and Toulouse-Lautrec.
In early 1892, Munch lives his own road to Damascus. He sees the sky ablaze at sunset, like an indomitable force of nature which has invaded the fjord in a terrible explosion of colors. He writes in his notebook a short poem stating that the happening had generated an intense fatigue to him.
No doubt he will be mesmerized by this vision for over a year, before daring to translate the memory of his anxiety as a painting and a pastel with a title evocating his inspiration: the Scream of Nature.
It took him another two years to exorcise his anxiety. In 1895, he made a second pastel, 79 x 59 cm, to be sold by Sotheby's in New York on May 2. Now conscious of having created a masterpiece, he prepares on the same year the first lithography. The fourth and last version of Munch's Scream is much later.
The pastel of 1895 is exceptional, and Sotheby's expects $ 80M. This is the only version where the artist has included the poem, hand painted into the frame. The two friends are still there in the distance, but are not any more interested in the scene, leaving the main character lonely struggling with his own dehumanization.
This is the only one of the four artworks to be still in private hands, and it had been little seen outside Norway. It is illustrated on Sotheby's page announcing the sale.
POST SALE COMMENT
Ite missa est. In a few words, everything is told: world record for a work of art, $ 120M including premium.
Rarely a record has been so deserved: last original in private hands, this pastel also marks the top of the emotional maturity of the artist on this theme, with dazzling colors.
The image is shared by Wikimedia.
1899 Maternité by Gauguin
2022 SOLD for $ 106M by Christie's
Far from his European family, Paul Gauguin manages to rebuild a family in Punaauia, a village near Papeete, with a vahine named Pahura, far too young by European standards. The birth of a boy in April 1899 is a moment of great joy.
Gauguin paints maternity scenes, with warm colors. Femmes sur le bord de la mer, later known as Maternité (I), shows a seated young mother breastfeeding her newborn. She is surrounded by two standing women who bring fruit and flowers, symbols of abundance and beauty. Fishermen and a dog complete the atmosphere. This oil on canvas 94 x 72 cm is kept at the Hermitage Museum in Saint-Petersburg.
Maternité (II), limited to the group of women, is therefore a more direct interpretation of the theme of fertility. This oil on burlap 95 x 61 cm was sold for $ 39M by Sotheby's on November 4, 2004, lot 15, and for $ 106M by Christie's on November 9, 2022, lot 11. The image is shared by Wikimedia.
With Gauguin the mystical interpretation, both religious and anticlerical, is always underlying. For example, a Nativité painted in 1902 stages a larger Polynesian group simulating the Crèche. The head of the baby is adorned with a radiant halo. This oil on canvas 44 x 62 cm was sold for $ 5.9M by Sotheby's on May 5, 2015.
Gauguin paints maternity scenes, with warm colors. Femmes sur le bord de la mer, later known as Maternité (I), shows a seated young mother breastfeeding her newborn. She is surrounded by two standing women who bring fruit and flowers, symbols of abundance and beauty. Fishermen and a dog complete the atmosphere. This oil on canvas 94 x 72 cm is kept at the Hermitage Museum in Saint-Petersburg.
Maternité (II), limited to the group of women, is therefore a more direct interpretation of the theme of fertility. This oil on burlap 95 x 61 cm was sold for $ 39M by Sotheby's on November 4, 2004, lot 15, and for $ 106M by Christie's on November 9, 2022, lot 11. The image is shared by Wikimedia.
With Gauguin the mystical interpretation, both religious and anticlerical, is always underlying. For example, a Nativité painted in 1902 stages a larger Polynesian group simulating the Crèche. The head of the baby is adorned with a radiant halo. This oil on canvas 44 x 62 cm was sold for $ 5.9M by Sotheby's on May 5, 2015.
