Lot Essay
Cette œuvre sera incluse au catalogue raisonné de l'œuvre de Louis Valtat actuellement en préparation par les Amis de Louis Valtat.
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Femme au jardin en bord de mer, Agay
Details
Louis Valtat (1869-1952)
Femme au jardin en bord de mer, Agay
signé des initiales 'L.V' (en bas à droite)
huile sur toile
81.8 x 101.3 cm.
Peint vers 1902
signed with the initials 'L.V' (lower right)
oil on canvas
32 ¼ x 39 7/8 in.
Painted circa 1902
Femme au jardin en bord de mer, Agay
signé des initiales 'L.V' (en bas à droite)
huile sur toile
81.8 x 101.3 cm.
Peint vers 1902
signed with the initials 'L.V' (lower right)
oil on canvas
32 ¼ x 39 7/8 in.
Painted circa 1902
Provenance
Collection particulière, Paris.
Special Notice
Artist's Resale Right ("droit de Suite").
If the Artist's Resale Right Regulations 2006 apply to this lot, the buyer also agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
Lot transferred to an external warehouse. Please find more information about storage costs and the collection address in our General Terms and Conditions.
Further Details
Exécuté vers 1902, ce paysage scintillant de Méditerranée souligne parfaitement le rôle de précurseur que joua Valtat, non seulement du fauvisme, mais aussi de l’art moderne du XXe siècle au sens large - un rôle trop souvent négligé, malgré la reconnaissance que ce peintre post-impressionniste reçut des artistes et des critiques de son temps. Affilié à plusieurs mouvements d’avant-garde au fil des années, Valtat n’adhéra jamais à un courant en particulier. Il les aborda plutôt comme autant de tremplins pour formuler son propre vocabulaire pictural et sa propre version du post- impressionnisme. C
ette grande et ravissante marine se distingue par ses riches jeux de texture, sa palette voluptueuse, son intimité et ses contrastes, entre modernité et romantisme. La figure rayonne au milieu de ce décor quasi- cinématographique, émergeant parmi les épais coups de pinceau avec lesquels Valtat sculpte son personnage et obtient ce ciel, cette mer et cette végétation aux textures vivantes et emphatiques.
This shimmering Mediterranean landscape executed circa 1902 perfectly embodies this subtitle, pinpointing to Valtat’s lead role as Fauvism’s precursor, and more generally as a Post-Impressionist forerunner of 20th century modern art, a role that has too often been neglected despite having been praised by fellow artists and art critics in his time. Being affiliated to many art trends throughout his œuvre, Valtat never adhered to one but instead used them as stepping stones to formulate his own pictorial vocabulary and his own version of Post-Impressionism.
This charming large seascape stands out in Valtat’s œuvre because of its textural richness, its voluptuous palette, its intimacy and its contrast between modernity and romanticism. The figure seems to glow within this almost cinematographic scenery, emerging from Valtat’s thick application of paint, with which he models the figure and achieves a dynamic textural rendering of the sky, sea and surrounding nature.
ette grande et ravissante marine se distingue par ses riches jeux de texture, sa palette voluptueuse, son intimité et ses contrastes, entre modernité et romantisme. La figure rayonne au milieu de ce décor quasi- cinématographique, émergeant parmi les épais coups de pinceau avec lesquels Valtat sculpte son personnage et obtient ce ciel, cette mer et cette végétation aux textures vivantes et emphatiques.
This shimmering Mediterranean landscape executed circa 1902 perfectly embodies this subtitle, pinpointing to Valtat’s lead role as Fauvism’s precursor, and more generally as a Post-Impressionist forerunner of 20th century modern art, a role that has too often been neglected despite having been praised by fellow artists and art critics in his time. Being affiliated to many art trends throughout his œuvre, Valtat never adhered to one but instead used them as stepping stones to formulate his own pictorial vocabulary and his own version of Post-Impressionism.
This charming large seascape stands out in Valtat’s œuvre because of its textural richness, its voluptuous palette, its intimacy and its contrast between modernity and romanticism. The figure seems to glow within this almost cinematographic scenery, emerging from Valtat’s thick application of paint, with which he models the figure and achieves a dynamic textural rendering of the sky, sea and surrounding nature.
Brought to you by
Antoine Lebouteiller
Head of Department