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拍品专文
To be included in the forthcoming catalogue of the works by Tsuguharu Foujita being prepared by Sylvie Buisson.
In the late 1920s, Léonard Tsuguhara Foujita became one of the most prominent and celebrated artists in Paris. The Art critic André Warnod once commented on his success, saying "wealth and fame did not knock on the wrong door this time".
Nonetheless, the financial crisis of 1929 in the United States hampered the European art market severely and signified the culmination of the Golden Twenties, the prosperous period after the First World War. 1930s indicates a crucial period in Foujita's career, in which he left Paris in 1931 and set off on a three-year journey in Central and South America. Influenced by its distinct culture and Mexican murals, Foujita expanded his palette to more exuberant and vibrant colors. The advent of the Second World War in September 1939 forced Foujita to return to Japan from Paris.
"I make straight and sinuous lines bounce and cross. Lines enable me to describe objects with exaggerated forms, confirm my inspiration, deformation or perspective. The painter can freely erase or add lines. There, is the art of lines, with which one surprises the others or achieves a deep beauty never equal." Foujita in Jeune Fille au Bonnet Rouge (Young Lady with a Red Hat) epitomizes the quintessence of his mature style upon returning to Paris in 1950 after WWII and a brief sojourn in New York. Moving away from feminine nude scenes Foujita starts painting delicate portraits of young girls following the ultimate goal of perfection and harmony. The choice of the small format creates a special intimacy with the viewer and adds to the preciousness of the jewel-like work which becomes an object of devotion. In his relentless quest of ideal, Foujita developed a unique painting technique; he first applies an even ivory-white surface on which his brush traces the outlines of shapes in ink and oil, to the manner of Japanese ink painting. Beyond her obvious beauty the young girl translates a subtle nostalgia through the evasive gaze, which makes Jeune Fille au Bonnet Rouge (Young Lady with a Red Hat) a perfect example of Foujita's mastery.
In the late 1920s, Léonard Tsuguhara Foujita became one of the most prominent and celebrated artists in Paris. The Art critic André Warnod once commented on his success, saying "wealth and fame did not knock on the wrong door this time".
Nonetheless, the financial crisis of 1929 in the United States hampered the European art market severely and signified the culmination of the Golden Twenties, the prosperous period after the First World War. 1930s indicates a crucial period in Foujita's career, in which he left Paris in 1931 and set off on a three-year journey in Central and South America. Influenced by its distinct culture and Mexican murals, Foujita expanded his palette to more exuberant and vibrant colors. The advent of the Second World War in September 1939 forced Foujita to return to Japan from Paris.
"I make straight and sinuous lines bounce and cross. Lines enable me to describe objects with exaggerated forms, confirm my inspiration, deformation or perspective. The painter can freely erase or add lines. There, is the art of lines, with which one surprises the others or achieves a deep beauty never equal." Foujita in Jeune Fille au Bonnet Rouge (Young Lady with a Red Hat) epitomizes the quintessence of his mature style upon returning to Paris in 1950 after WWII and a brief sojourn in New York. Moving away from feminine nude scenes Foujita starts painting delicate portraits of young girls following the ultimate goal of perfection and harmony. The choice of the small format creates a special intimacy with the viewer and adds to the preciousness of the jewel-like work which becomes an object of devotion. In his relentless quest of ideal, Foujita developed a unique painting technique; he first applies an even ivory-white surface on which his brush traces the outlines of shapes in ink and oil, to the manner of Japanese ink painting. Beyond her obvious beauty the young girl translates a subtle nostalgia through the evasive gaze, which makes Jeune Fille au Bonnet Rouge (Young Lady with a Red Hat) a perfect example of Foujita's mastery.