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Lot Essay
Nude - Reflections, painted circa 1912 is a vivid example of the work of F.C.B. Cadell. The artist showed early promise and at the age of sixteen and received tuition at the Académie Julian in Paris from 1899-1902. For Cadell, this training marked a significant break from the rigid traditions of European painting. Additionally, the exposure to the art of the Impressionist painters during these years would have had a substantial impact on his practice. Cadell would have undoubtedly seen Gustav Caillebotte’s bequeathed collection shown at the Musée du Luxembourg, in which works from all the prominent Impressionist painters such as Monet, Degas, Renoir and Cézanne were included. The influence of the Impressionists as well as the Cubists and Fauves would remain with Cadell for the duration of his career.
This lasting effect is apparent in Nude – Reflections. Although Cadell painted very few female nudes, he frequently revisited the motif of the reflection in his work, especially in later pieces such as Reflections (1913), and Lady with Black Hat (1915). Nude - Reflections is a fresh and tactile work, with Cadell masterfully handling the calm tones of the room in a spontaneous and fleeting way. The loose brushwork can be seen, in part, to be reminiscent of the work of Cézanne, particularly his series of Bathers, which he would have seen this work whilst he was studying in Paris.
Cézanne’s practice manifests itself in the way Cadell has combined the fleshy pink tones of the model’s body with the blues of the fabric gathered up on the sofa, alluding to her discarded clothes. Within the frame Cadell offers us two different perspectives. Firstly, the model is pointedly turned away from the observer, however her reflection faces the viewer front on. The present work therefore acts as a double portrait. Cadell has juxtaposed the calm space of the room with the more energetic and colourful reflection, with the model occupying both spaces simultaneously.
As Cadell’s career progressed, his Post-War interiors underwent a dramatic change. The fluid and open handling of paint we see in Nude - Reflections was replaced by tightly defined details. In fact, Cadell’s use of colour is the most notable change, replacing the soft, cool tones seen in Nude Reflections with blocks of bold colour. This is seen in works such as The Red Chair (1923), and to a greater extent, in Still Life and Rosechatel (1924). This change also translates to Cadell’s portraits, as seen in The Feathered Hat (1915), where Cadell continues to paint mirror reflections, but employs bolder uses of primary colour.
Cadell worked closely with S.J. Peploe, J. D. Fergusson and G.L. Hunter, who were often referred to collectively as the Scottish Colourists, celebrated for their vibrancy of tone. Cadell stands out in particular, exhibiting frequently with at the Société Nationale des Beaux Arts in the early 20th Century, as well as at the Royal Scottish Academy, and Royal Scottish Society of Painters in Watercolour. Furthermore, Cadell is often considered to be the most versatile, embarking on a wide range of genres including still life, portraits, landscapes, and interiors. Nude - Reflections is an expressive example of the archetypal colourist style. In the present work Cadell uses elegant brushwork and a bright palette to depict themes which also occupied the Impressionist artists in Paris, referencing works such as Manet’s, Before the Mirror (1876). While the artist Stanley Cursiter remarked in 1947 that Cadell’s most valuable asset was, ‘An infective gaiety, a light heartedness combined with a daring and masterful use of colour placed with swift certainty of its effective display.’
This lasting effect is apparent in Nude – Reflections. Although Cadell painted very few female nudes, he frequently revisited the motif of the reflection in his work, especially in later pieces such as Reflections (1913), and Lady with Black Hat (1915). Nude - Reflections is a fresh and tactile work, with Cadell masterfully handling the calm tones of the room in a spontaneous and fleeting way. The loose brushwork can be seen, in part, to be reminiscent of the work of Cézanne, particularly his series of Bathers, which he would have seen this work whilst he was studying in Paris.
Cézanne’s practice manifests itself in the way Cadell has combined the fleshy pink tones of the model’s body with the blues of the fabric gathered up on the sofa, alluding to her discarded clothes. Within the frame Cadell offers us two different perspectives. Firstly, the model is pointedly turned away from the observer, however her reflection faces the viewer front on. The present work therefore acts as a double portrait. Cadell has juxtaposed the calm space of the room with the more energetic and colourful reflection, with the model occupying both spaces simultaneously.
As Cadell’s career progressed, his Post-War interiors underwent a dramatic change. The fluid and open handling of paint we see in Nude - Reflections was replaced by tightly defined details. In fact, Cadell’s use of colour is the most notable change, replacing the soft, cool tones seen in Nude Reflections with blocks of bold colour. This is seen in works such as The Red Chair (1923), and to a greater extent, in Still Life and Rosechatel (1924). This change also translates to Cadell’s portraits, as seen in The Feathered Hat (1915), where Cadell continues to paint mirror reflections, but employs bolder uses of primary colour.
Cadell worked closely with S.J. Peploe, J. D. Fergusson and G.L. Hunter, who were often referred to collectively as the Scottish Colourists, celebrated for their vibrancy of tone. Cadell stands out in particular, exhibiting frequently with at the Société Nationale des Beaux Arts in the early 20th Century, as well as at the Royal Scottish Academy, and Royal Scottish Society of Painters in Watercolour. Furthermore, Cadell is often considered to be the most versatile, embarking on a wide range of genres including still life, portraits, landscapes, and interiors. Nude - Reflections is an expressive example of the archetypal colourist style. In the present work Cadell uses elegant brushwork and a bright palette to depict themes which also occupied the Impressionist artists in Paris, referencing works such as Manet’s, Before the Mirror (1876). While the artist Stanley Cursiter remarked in 1947 that Cadell’s most valuable asset was, ‘An infective gaiety, a light heartedness combined with a daring and masterful use of colour placed with swift certainty of its effective display.’