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Lot Essay
View of the antichambre designed by Paul Follot at the Ambassade Français, Exposition Internationale, Paris, 1925.
Courtesy of Thomas J. Watson Library, The Metropolitan Museum of Art
René Crevel was a decorator, painter and designer of a various objects such as tapestries, carpets, wallpaper and enamel objects. Born in Rouen, he was active from the 1920s through the 1940s and participated in a number of exhibitions at the Société des Artistes Décorateurs in Paris through these three decades.
At the 1925 Paris Exposition International des Arts Décoratifs et Industriels Modernes, Crevel and the French designer and decorator Paul Follot collaborated on the antichambre of the Ambassade Française pavilion. In a period sketch of that room, the present painting of the standing flute player can be seen prominently on display. Another Crevel painting was also on view in the same room, and, because it is clearly a mate -- similar in style, coloration, size and subject matter -- it is likely that the second here offered Crevel painting of the kneeling flute player was that second work. The vibrant colors, simplification of forms and bold, undisguised brushstrokes favored by Crevel in these two paintings speak to the influence of the French Fauvists from the first decade of the twentieth century.
Courtesy of Thomas J. Watson Library, The Metropolitan Museum of Art
René Crevel was a decorator, painter and designer of a various objects such as tapestries, carpets, wallpaper and enamel objects. Born in Rouen, he was active from the 1920s through the 1940s and participated in a number of exhibitions at the Société des Artistes Décorateurs in Paris through these three decades.
At the 1925 Paris Exposition International des Arts Décoratifs et Industriels Modernes, Crevel and the French designer and decorator Paul Follot collaborated on the antichambre of the Ambassade Française pavilion. In a period sketch of that room, the present painting of the standing flute player can be seen prominently on display. Another Crevel painting was also on view in the same room, and, because it is clearly a mate -- similar in style, coloration, size and subject matter -- it is likely that the second here offered Crevel painting of the kneeling flute player was that second work. The vibrant colors, simplification of forms and bold, undisguised brushstrokes favored by Crevel in these two paintings speak to the influence of the French Fauvists from the first decade of the twentieth century.