Decade 1920-1929
See also : Groups Nude Man and woman Self portrait II Children Landscape Orientalism Music and dance USA USA II US painting < 1940 France Degas Matisse Miro Holland Russia Eastern Europe Chagall Picasso 1907-1931 Sculpture by painters French sculpture China Modern China Mountains in China
1920 The Two Pictures of Olga
2017 SOLD for $ 30.5M including premium
Times are hard. Pablo Picasso had provided a formidable boost to modern art with the Demoiselles and then with the analytical Cubism using or imitating collages. Competitors follow with enthusiasm but customers are rare for this art that is too intellectual, especially in that period of war. A return to classicism becomes vital but Picasso can not get rid of his avant-garde ambition.
Around 1916 he attempts a new approach by simplifying the geometric shapes and by reducing the number of elements. The readability remains difficult except perhaps in the still life. To convince his audience Picasso indeed needs to convince himself.
He realizes two portraits of Olga in the same format, based on the same photograph. One of them is realistic in the style of Ingres, the other is Cubist. The artist wants to demonstrate that the impression offered to the viewer by a work of art does not depend on the style.
Zervos considers that both paintings were started simultaneously in 1917. The Ingresque portrait is finished early. The Cubist portrait is continually reworked until 1920. The result is as luminous as a stained glass window with its solid colors enclosed in outlines of white stripes bordered by a black line. The woman maintains an identical attitude on both images.
The use of the Cubist portrait like a piece of laboratory for the development of a new style is at no doubt. Picasso kept this work throughout his life, certainly not in memory of Olga but as a demonstrator of the evolution of his art in that difficult period of his career.
The Cubist portrait, oil on canvas 130 x 89 cm, is estimated $ 20M by Christie's in New York on May 15, lot 7 A offered along with seven other major artworks for the benefit of the Cleveland Clinic Heart and Vascular Institute. Please watch the video in which Christie's introduces the whole set.
Around 1916 he attempts a new approach by simplifying the geometric shapes and by reducing the number of elements. The readability remains difficult except perhaps in the still life. To convince his audience Picasso indeed needs to convince himself.
He realizes two portraits of Olga in the same format, based on the same photograph. One of them is realistic in the style of Ingres, the other is Cubist. The artist wants to demonstrate that the impression offered to the viewer by a work of art does not depend on the style.
Zervos considers that both paintings were started simultaneously in 1917. The Ingresque portrait is finished early. The Cubist portrait is continually reworked until 1920. The result is as luminous as a stained glass window with its solid colors enclosed in outlines of white stripes bordered by a black line. The woman maintains an identical attitude on both images.
The use of the Cubist portrait like a piece of laboratory for the development of a new style is at no doubt. Picasso kept this work throughout his life, certainly not in memory of Olga but as a demonstrator of the evolution of his art in that difficult period of his career.
The Cubist portrait, oil on canvas 130 x 89 cm, is estimated $ 20M by Christie's in New York on May 15, lot 7 A offered along with seven other major artworks for the benefit of the Cleveland Clinic Heart and Vascular Institute. Please watch the video in which Christie's introduces the whole set.
1920-1922 The Black and the Red
2015 SOLD for $ 38M including premium
In 1915 the Suprematism of Kazimir Malevich shakes forever the theories of art. To be pure, art should excite feelings without referring to a message. It is neither figurative nor religious nor political.
Malevich developed a new grammar reduced to three basic filled shapes, simple enough to escape a semiotic interpretation : rectangle, oval and cross. The perfect rectangle and oval are the square and the circle.
The black square on white is the seminal flagship and the masterpiece of Suprematism. Centered on a canvas where it fills most of the available surface, the square becomes a flying artefact independently from its supporting fabric and generates a mesmerizing feeling. Faced with such a spatial illusion, we are tempted to reduce the famous white square on white from 1918 down to no more than an additional experiment.
In the early phase, other works by Malevich still make concessions to competing movements. His cohorts of stripes more or less parallel in various colors seek to express the movement as in the Futurism in an assembly which appears hand made as in the Synthetic Cubism or in the Constructivism.
On November 5 in New York, Sotheby's sells Mystic Suprematism, oil on canvas 100 x 59 cm painted between 1920 and 1922, lot 8 estimated $ 35M.
A black cross is flying in front of a deep red oval. The pole of the cross and the oval are coaxial. The pole is a quadrangle that slightly tapers downward, bringing an effect of forward tilting. The additional small black line that runs across the lower part of the pole is used for balancing, allowing the viewer to decide if that indefinable abstract object is or not about to fall.
Suprematism is already announcing the major trends of abstract art of the second half of its century, which will use the expressive role of the colors. It is unfortunate that Malevich did not experience the importance of large size. To go further than Suprematism, wait for Rothko.
Malevich developed a new grammar reduced to three basic filled shapes, simple enough to escape a semiotic interpretation : rectangle, oval and cross. The perfect rectangle and oval are the square and the circle.
The black square on white is the seminal flagship and the masterpiece of Suprematism. Centered on a canvas where it fills most of the available surface, the square becomes a flying artefact independently from its supporting fabric and generates a mesmerizing feeling. Faced with such a spatial illusion, we are tempted to reduce the famous white square on white from 1918 down to no more than an additional experiment.
In the early phase, other works by Malevich still make concessions to competing movements. His cohorts of stripes more or less parallel in various colors seek to express the movement as in the Futurism in an assembly which appears hand made as in the Synthetic Cubism or in the Constructivism.
On November 5 in New York, Sotheby's sells Mystic Suprematism, oil on canvas 100 x 59 cm painted between 1920 and 1922, lot 8 estimated $ 35M.
A black cross is flying in front of a deep red oval. The pole of the cross and the oval are coaxial. The pole is a quadrangle that slightly tapers downward, bringing an effect of forward tilting. The additional small black line that runs across the lower part of the pole is used for balancing, allowing the viewer to decide if that indefinable abstract object is or not about to fall.
Suprematism is already announcing the major trends of abstract art of the second half of its century, which will use the expressive role of the colors. It is unfortunate that Malevich did not experience the importance of large size. To go further than Suprematism, wait for Rothko.
Kazimir Malevich’s “Mystic Suprematism” represents the artist at his most radical and powerful http://t.co/ZVK8UCMZxo pic.twitter.com/9iGywjP92q
— Sotheby's (@Sothebys) September 18, 20151923 A Nice Farniente
2018 SOLD for $ 81M including premium
Installed in Nice after the war, Henri Matisse resumes his research of colors and compositions with a serenity that Paris could not bring him. With Antoinette and even better with Henriette, he maintains an intimate connivance with his models. Their body becomes the central element of the artwork.
Henriette poses complacently because she appreciates the beauty of her athletic body. In parallel to nude studies, Matisse stages her in orientalist attires that are a new excuse for the shimmer of colors in her surroundings. Her portraits exudes her confidence in the artist without inhibiting her sensuality.
On May 8 in New York, Christie's sells as lot 8 Odalisque couchée aux magnolias, oil on canvas 61 x 81 cm painted in 1923. The nice intimacy of this artwork had seduced David and Peggy Rockefeller.
The young woman enjoys the pleasures of idleness, ready to nap or just finishing it. She is reclining on a chaise longue probably in the gate of a veranda. She wears on her shoulders a light shirt completely opened to expose the naked chest to the beneficent sun of the Côte d'Azur.
The orientalist impression is brought by the Persian harem pants which loosely cover the lower part of her body and by the screen behind her whose right panel is centered on two large magnolia flowers.
Please watch the video shared by Christie's.
Henriette poses complacently because she appreciates the beauty of her athletic body. In parallel to nude studies, Matisse stages her in orientalist attires that are a new excuse for the shimmer of colors in her surroundings. Her portraits exudes her confidence in the artist without inhibiting her sensuality.
On May 8 in New York, Christie's sells as lot 8 Odalisque couchée aux magnolias, oil on canvas 61 x 81 cm painted in 1923. The nice intimacy of this artwork had seduced David and Peggy Rockefeller.
The young woman enjoys the pleasures of idleness, ready to nap or just finishing it. She is reclining on a chaise longue probably in the gate of a veranda. She wears on her shoulders a light shirt completely opened to expose the naked chest to the beneficent sun of the Côte d'Azur.
The orientalist impression is brought by the Persian harem pants which loosely cover the lower part of her body and by the screen behind her whose right panel is centered on two large magnolia flowers.
Please watch the video shared by Christie's.
1923 The Scream of the Carcass
2015 SOLD for $ 28M including premium
Despite his difficult and secretive behavior, Chaïm Soutine was not isolated in the Parisian art world. He had been a drinking companion of Modigliani and interested Zborowski. He decomposed the landscapes to better express the violence of colors, to the detriment not only of perspective but also of balance.
Visiting Paris in 1923, Barnes was overwhelmed by the highly original expressive approach of the young painter, but Soutine never reacts like everyone else. After this unexpected success, he moved his studio and rushed to La Villette to buy a beef carcass.
The series of images of carcasses, beef and afterwards other animals, is not a victory of the artist against hunger. He was indeed already threatened by his stomach ulcer that will kill him twenty years later.
The haunting red of blood and meat is the exacerbation of a child's nightmare. Soutine had been shocked by the contrast between the tragedy of the dead animal and the satisfaction of the butcher to offer a choice piece. His carcasses defy the balancing traditions of still life painting in a logical continuation of his compositions of landscapes.
Meat rots on its hook, offering new colors to the artist and alerting the neighbors who called the police but failed to halt this remarkable creative impulse. An oil on canvas 81 x 60 cm showing a beef carcass in close up view is estimated $ 20M for sale by Christie's in New York on May 11, lot 30A.
Visiting Paris in 1923, Barnes was overwhelmed by the highly original expressive approach of the young painter, but Soutine never reacts like everyone else. After this unexpected success, he moved his studio and rushed to La Villette to buy a beef carcass.
The series of images of carcasses, beef and afterwards other animals, is not a victory of the artist against hunger. He was indeed already threatened by his stomach ulcer that will kill him twenty years later.
The haunting red of blood and meat is the exacerbation of a child's nightmare. Soutine had been shocked by the contrast between the tragedy of the dead animal and the satisfaction of the butcher to offer a choice piece. His carcasses defy the balancing traditions of still life painting in a logical continuation of his compositions of landscapes.
Meat rots on its hook, offering new colors to the artist and alerting the neighbors who called the police but failed to halt this remarkable creative impulse. An oil on canvas 81 x 60 cm showing a beef carcass in close up view is estimated $ 20M for sale by Christie's in New York on May 11, lot 30A.
This beef painting is selling for the cost of about 400,000 rib-eyes http://t.co/Zcs8LR5a2C pic.twitter.com/MW7KxVGDEh
— Bon Appetit Magazine (@bonappetit) May 6, 20151925 Twelve Landscapes by Qi Baishi
2017 SOLD for RMB 930M by Poly
The traditional Chinese graphic art is an uninterrupted series of imitations of the old masters. Bada Shanren's eccentric approach at the very beginning of the Qing dynasty is a rare exception.
Born in Hunan province into a family of poor peasants, Qi Baishi was self-taught. Settled in Beijing at the age of 53 in 1917, he drew inspiration from Bada Shanren to develop a vigorous and spontaneous line, reaching poetry through a free realism. His greatest innovation is the use of inks in very bright colors.
His themes are varied while being ordinary and peaceful : landscapes, trees, countless small things. He paints according to his own observations, is not interested in symbols and allegories and does not follow Bada Shanren in the rebellion.
Qi Baishi executed in 1925 a monumental series of twelve vertical panels in light blue, gray, brown and pink on paper 180 x 47 cm each. The simple graphic style is inspired from Bada Shanren amended by the teaching of Wu Changshuo. The painting technique combines outline and splashing of ink, with bright colors in between. Calligraphed poems are included.
They manage to express the variety of mountains, villages and blossoming trees, as evidenced by the twelve individual titles (Google translation from Chinese) : "Houses on the River", "Double Shadows of Rocks", "Lonely Sail on Banqiao", "Cypress Trees", "Afterglow on the Far Shore", "Pine Trees and White Houses", "Apricots" "Flower and Grass Hall", "Fir Tree Tower", "Deep Smoke and Shadow of Sail", "Spring Rain in the Mountains", "Mangroves and White Spring", "Bantang Lotus Fragrance".
The full set had been presented by the artist to a doctor in Beijing who specialized in treating senior Kuomintang officials and also artists and literati. It was sold for RMB 930M from a lower estimate of RMB 500M by Poly on December 17, 2017, lot 2806. The image is shared by China Daily.
There is only one other similar set. Painted in 1932, it is kept in a museum in Chongqing.
Born in Hunan province into a family of poor peasants, Qi Baishi was self-taught. Settled in Beijing at the age of 53 in 1917, he drew inspiration from Bada Shanren to develop a vigorous and spontaneous line, reaching poetry through a free realism. His greatest innovation is the use of inks in very bright colors.
His themes are varied while being ordinary and peaceful : landscapes, trees, countless small things. He paints according to his own observations, is not interested in symbols and allegories and does not follow Bada Shanren in the rebellion.
Qi Baishi executed in 1925 a monumental series of twelve vertical panels in light blue, gray, brown and pink on paper 180 x 47 cm each. The simple graphic style is inspired from Bada Shanren amended by the teaching of Wu Changshuo. The painting technique combines outline and splashing of ink, with bright colors in between. Calligraphed poems are included.
They manage to express the variety of mountains, villages and blossoming trees, as evidenced by the twelve individual titles (Google translation from Chinese) : "Houses on the River", "Double Shadows of Rocks", "Lonely Sail on Banqiao", "Cypress Trees", "Afterglow on the Far Shore", "Pine Trees and White Houses", "Apricots" "Flower and Grass Hall", "Fir Tree Tower", "Deep Smoke and Shadow of Sail", "Spring Rain in the Mountains", "Mangroves and White Spring", "Bantang Lotus Fragrance".
The full set had been presented by the artist to a doctor in Beijing who specialized in treating senior Kuomintang officials and also artists and literati. It was sold for RMB 930M from a lower estimate of RMB 500M by Poly on December 17, 2017, lot 2806. The image is shared by China Daily.
There is only one other similar set. Painted in 1932, it is kept in a museum in Chongqing.
1927 Petite Danseuse de 14 ans by Degas (posthumous)
2022 SOLD for $ 42M by Christie's
An original artist with an uneasy temper, Edgar Degas was one of the most innovative graphic artists of the nineteenth century. He knew that he was close to the Impressionists and appreciated their rejection of classicism. His own creative process was very complex, as shown in the example below.
In 1879, Marie draws the attention of the artist. Aged 14, this "petit rat d'Opéra" is an ungrateful teenager, far from physiological maturity, with awkward gestures, but already attracted to her future career as a dancer (which ended before it was to start when she was fired from the dance school for repeated absences).
Degas was a painter, draftsman, sculptor, photographer, printer, but his great art was oil and pastel. He used drawing and sculpture like sketches.
On his first sculpture of Marie, 74 cm high, the girl is naked. This makes sense since the artist wants to study the movements of her body. This is not enough for him. He realized another larger statue in painted wax, a little over 1 m, in the same position, with the unconventional idea to equip it with a dancing dress in cloth and real hair. By its realism that does not reject some ugliness, this portrait of an adolescent girl is indeed a key work of modern sculpture.
As in his many pastels of ballerinas, Degas captures a moment of life which is neither from the performance nor relaxed, which may be a reverie or an exhaustion.
After much hesitation, he shows his Petite danseuse de quatorze ans at the Impressionist exhibition of 1881. After this unique event and until his death in 1917, no sculpture of the master will be exhibited.
Degas had considered that his waxes were too fragile for preparing bronze casts. In 1918 his heirs contracted Adrien Hébrard to produce limited bronze editions of all seventy-four wax sculptures found during the posthumous inventory.
Hébrard worked often on request from collectors. The first complete set of bronzes was finished in 1921. This activity made the founder busy up to 1938 including a total 29 casts of the Petite Danseuse.
Petite danseuse de quatorze ans was edited by Hébrard in bronze with muslin skirt and satin hair ribbon.
A bronze 103 cm high not including the wooden base was sold for $ 42M from a lower estimate of $ 20M for sale by Christie's on May 12, 2022, lot 2C.
This copy with brown patina was cast in 1927 by Hébrard in commission from a US collector. It is fitted with the usual muslin skirt and satin hair ribbon of that model.
A copy with a provenance history beginning in the 1930s was sold for £ 13.3M by Sotheby's on February 3, 2009, lot 8.
Another example with no reference on the possible date was sold by Sotheby's for £ 15.8M on June 24, 2015, lot 14. Please watch the video shared by the auction house.
In 1879, Marie draws the attention of the artist. Aged 14, this "petit rat d'Opéra" is an ungrateful teenager, far from physiological maturity, with awkward gestures, but already attracted to her future career as a dancer (which ended before it was to start when she was fired from the dance school for repeated absences).
Degas was a painter, draftsman, sculptor, photographer, printer, but his great art was oil and pastel. He used drawing and sculpture like sketches.
On his first sculpture of Marie, 74 cm high, the girl is naked. This makes sense since the artist wants to study the movements of her body. This is not enough for him. He realized another larger statue in painted wax, a little over 1 m, in the same position, with the unconventional idea to equip it with a dancing dress in cloth and real hair. By its realism that does not reject some ugliness, this portrait of an adolescent girl is indeed a key work of modern sculpture.
As in his many pastels of ballerinas, Degas captures a moment of life which is neither from the performance nor relaxed, which may be a reverie or an exhaustion.
After much hesitation, he shows his Petite danseuse de quatorze ans at the Impressionist exhibition of 1881. After this unique event and until his death in 1917, no sculpture of the master will be exhibited.
Degas had considered that his waxes were too fragile for preparing bronze casts. In 1918 his heirs contracted Adrien Hébrard to produce limited bronze editions of all seventy-four wax sculptures found during the posthumous inventory.
Hébrard worked often on request from collectors. The first complete set of bronzes was finished in 1921. This activity made the founder busy up to 1938 including a total 29 casts of the Petite Danseuse.
Petite danseuse de quatorze ans was edited by Hébrard in bronze with muslin skirt and satin hair ribbon.
A bronze 103 cm high not including the wooden base was sold for $ 42M from a lower estimate of $ 20M for sale by Christie's on May 12, 2022, lot 2C.
This copy with brown patina was cast in 1927 by Hébrard in commission from a US collector. It is fitted with the usual muslin skirt and satin hair ribbon of that model.
A copy with a provenance history beginning in the 1930s was sold for £ 13.3M by Sotheby's on February 3, 2009, lot 8.
Another example with no reference on the possible date was sold by Sotheby's for £ 15.8M on June 24, 2015, lot 14. Please watch the video shared by the auction house.
#AuctionUpdate From the Anne H. Bass Collection, Edgar Degas’s ‘Petite danseuse de quatorze ans’ broke the auction record of the artist tonight; price realized $41.6 million pic.twitter.com/Dn4JLCbWTB
— Christie's (@ChristiesInc) May 12, 2022
1927 The Blue Period of Joan Miro
2012 SOLD 23.5 M£ including premium
Miro was the most abstract of the surrealists and the most surreal of the abstract. His use of geometric shapes is as hermetic as the artistic grammar of Kandinsky. The title of the work invites the viewer to a certain vision that is never the only possible interpretation.
Painted in 1927, Peinture (étoile bleue), is typical and can rightly be considered as an outstanding work of the artist. It is for sale by Sotheby's in London on June 19. Here is the link to the catalog.
Never a visible star was blue, but the universe of Miro is completely dreamlike. The artwork, an oil on canvas 115 x 89 cm, is actually azure dark blue, anticipating over thirty years Klein's IKB.
The vertical format invites to gravity, but the opposite occurs. The forms that sail in this space are completely free and far between, like galaxies in the sky, preceding by 70 years the shelters for aliens by Cai Guo-Qiang.
Forgotten for 40 years in the estate of a great collector, Peinture (étoile bleue) got a nice media success when it reappeared in Paris. It was sold € 11.6 million including premium by Aguttes on December 21, 2007. Certainly this is a masterpiece by Miro, but its new estimate, £ 15M, is ambitious.
I invite you to play the video shared on the web by Sotheby's.
POST SALE COMMENT
In 2007, the Parisian observers rightly considered Peinture (étoile bleue) as a masterpiece of Miro. The result, quoted above, was then the highest price recorded for the artist at auction.
And in 2012, Sotheby's has largely won their challenge: £ 23.5 million including premium.
This artist always original and often difficult enters the short list of the most outstanding painters of the twentieth century.
Painted in 1927, Peinture (étoile bleue), is typical and can rightly be considered as an outstanding work of the artist. It is for sale by Sotheby's in London on June 19. Here is the link to the catalog.
Never a visible star was blue, but the universe of Miro is completely dreamlike. The artwork, an oil on canvas 115 x 89 cm, is actually azure dark blue, anticipating over thirty years Klein's IKB.
The vertical format invites to gravity, but the opposite occurs. The forms that sail in this space are completely free and far between, like galaxies in the sky, preceding by 70 years the shelters for aliens by Cai Guo-Qiang.
Forgotten for 40 years in the estate of a great collector, Peinture (étoile bleue) got a nice media success when it reappeared in Paris. It was sold € 11.6 million including premium by Aguttes on December 21, 2007. Certainly this is a masterpiece by Miro, but its new estimate, £ 15M, is ambitious.
I invite you to play the video shared on the web by Sotheby's.
POST SALE COMMENT
In 2007, the Parisian observers rightly considered Peinture (étoile bleue) as a masterpiece of Miro. The result, quoted above, was then the highest price recorded for the artist at auction.
And in 2012, Sotheby's has largely won their challenge: £ 23.5 million including premium.
This artist always original and often difficult enters the short list of the most outstanding painters of the twentieth century.
1928 Wonderful Love
2017 SOLD for $ 28.5M including premium
Marc and Bella are charming in their total empathy for one another. On November 14 in New York, Sotheby's sells Les Amoureux, oil on canvas 117 x 90 cm painted in 1928 by Chagall, lot 8 estimated $ 12M.
The theme of lovers portraying his own couple is recurrent in the art of Chagall but this work is especially touching by the attitudes, the realism of the very recognizable faces and some discretion of the surrealist attributes.
In their beatitude the lovers are floating. The young man with closed eyes is resting his head between the cheek and the shoulder of the woman. She gently welcomes this enthusiastic impulse but her eyes wide open indicate the lucidity with which she guides in real life this innocent husband.
Paris is their nest. In that same year Marc painted Les Mariés de la Tour Eiffel where their dear little Ida is disguised as a floating angel to present the bouquet. This oil on canvas 90 x 117 cm was sold for £ 7M including premium by Christie's on February 2, 2016.
Let's go back to our Amoureux. Marc does not miss to express his gratitude to his host country. The tricolor dress of Bella ends with a blue in which is transposed the sky centered by a dazzling sun. In this sky a tiny bird comes to offer its auspices to the embraced couple. Leaves and flowers bring their frame to this ethereal scene.
Please watch the video shared by Sotheby's in which the love of Marc and Bella is commented by one of their granddaughters.
The theme of lovers portraying his own couple is recurrent in the art of Chagall but this work is especially touching by the attitudes, the realism of the very recognizable faces and some discretion of the surrealist attributes.
In their beatitude the lovers are floating. The young man with closed eyes is resting his head between the cheek and the shoulder of the woman. She gently welcomes this enthusiastic impulse but her eyes wide open indicate the lucidity with which she guides in real life this innocent husband.
Paris is their nest. In that same year Marc painted Les Mariés de la Tour Eiffel where their dear little Ida is disguised as a floating angel to present the bouquet. This oil on canvas 90 x 117 cm was sold for £ 7M including premium by Christie's on February 2, 2016.
Let's go back to our Amoureux. Marc does not miss to express his gratitude to his host country. The tricolor dress of Bella ends with a blue in which is transposed the sky centered by a dazzling sun. In this sky a tiny bird comes to offer its auspices to the embraced couple. Leaves and flowers bring their frame to this ethereal scene.
Please watch the video shared by Sotheby's in which the love of Marc and Bella is commented by one of their granddaughters.
1929 Confrontation with the Modern Life
2018 SOLD for $ 92M including premium
Very francophile after a stay in Paris, Edward Hopper observes on his return to New York the differences in the art of living between the two continents. Everything is changing very quickly in the United States in the 1920s around a new organization of work that better incorporates women, respects their individuality better and gives them some freedom.
Hopper is taciturn and traditionalist. He very well appreciates that he cannot oppose these changes, just as he cannot do anything about the collapse of abandoned houses. His art is realistic but he builds his own universe like a surrealist.
Automat, painted in 1927, is a portrait of his wife Jo having a break in a self-service cafe. She is alone, pensive and a little tired, sitting in front of a round table in the back of a room without decoration.
Chop Suey, oil on canvas 81 x 96 cm painted in 1929, stages the same young woman in another cheap restaurant, seated in front of another woman who is seen from behind. Sitting at another table in the background, a couple chats.
The theme is definitely not narrative despite its appearances. We will not know who these characters are, why they are together. These Chinese cafes that then proliferate in the United States are a symbol of a new everyday life with new forms of banalities and also with the attractiveness and the threat of internationalization and depersonalization.
In new urban spaces, geometry becomes omnipresent. Chop Suey seduced the young Mark Rothko and much later influenced his division of surfaces into color fields.
Chop Suey is estimated $ 70M for sale by Christie's in New York on November 13, lot 12 B. The low resolution image is shared by Wikimedia for fair use. Please watch the video shared by the auction house.
Hopper is taciturn and traditionalist. He very well appreciates that he cannot oppose these changes, just as he cannot do anything about the collapse of abandoned houses. His art is realistic but he builds his own universe like a surrealist.
Automat, painted in 1927, is a portrait of his wife Jo having a break in a self-service cafe. She is alone, pensive and a little tired, sitting in front of a round table in the back of a room without decoration.
Chop Suey, oil on canvas 81 x 96 cm painted in 1929, stages the same young woman in another cheap restaurant, seated in front of another woman who is seen from behind. Sitting at another table in the background, a couple chats.
The theme is definitely not narrative despite its appearances. We will not know who these characters are, why they are together. These Chinese cafes that then proliferate in the United States are a symbol of a new everyday life with new forms of banalities and also with the attractiveness and the threat of internationalization and depersonalization.
In new urban spaces, geometry becomes omnipresent. Chop Suey seduced the young Mark Rothko and much later influenced his division of surfaces into color fields.
Chop Suey is estimated $ 70M for sale by Christie's in New York on November 13, lot 12 B. The low resolution image is shared by Wikimedia for fair use. Please watch the video shared by the auction house.
1929 Constructing the Balance
2015 SOLD for $ 50.6M including premium
On a small canvas, Piet Mondrian looks for the absolute balance by drawing strictly horizontal and vertical lines which are interrupted or not when meeting. They form squares or rectangles of which some of them may seem dominant. Basically formed of non-colors, these subspaces lose their respective imbalances when some are filled with pure colors.
In 1929, the artist manages to simplify this structure to the extreme without however reaching the ultimate outcome of the squares by Malevich. Only one vertical and one horizontal lines go from edge to edge, dividing the canvas into four nearly equal areas. The broken lines complement a square over the bottom right with divided stripes on their edges.
On May 14 in New York, Christie's sells a Composition No. III with red, blue, yellow and black, 50 x 50 cm, lot 6C estimated $ 15M, which is a prototype and perhaps the most outstanding painting using this new geometry. The deep red on the top left distracts the attention away from the non-colored central square. The other two colors along with the black and a non-color fill the narrow stripes on the bottom right of the figure.
Mondrian is happy. He presents this painting to Michel Seuphor, who is one of the first critics to actively support this new conception of abstract art, and reuses this effective geometry with other color schemes.
Painted in 1930 on a canvas of same size, Composition No. II with blue and yellow was sold for £ 12.4 million including premium by Christie's on February 4, 2014.
In 1929, the artist manages to simplify this structure to the extreme without however reaching the ultimate outcome of the squares by Malevich. Only one vertical and one horizontal lines go from edge to edge, dividing the canvas into four nearly equal areas. The broken lines complement a square over the bottom right with divided stripes on their edges.
On May 14 in New York, Christie's sells a Composition No. III with red, blue, yellow and black, 50 x 50 cm, lot 6C estimated $ 15M, which is a prototype and perhaps the most outstanding painting using this new geometry. The deep red on the top left distracts the attention away from the non-colored central square. The other two colors along with the black and a non-color fill the narrow stripes on the bottom right of the figure.
Mondrian is happy. He presents this painting to Michel Seuphor, who is one of the first critics to actively support this new conception of abstract art, and reuses this effective geometry with other color schemes.
Painted in 1930 on a canvas of same size, Composition No. II with blue and yellow was sold for £ 12.4 million including premium by Christie's on February 4, 2014.
A #newworldrecord set for #PietMondrian @ChristiesInc as 'Composition III' sells for $50,565,000 pic.twitter.com/G3PTht6pTl
— Art Observed (@ArtObserved) May 14, 2015