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Email to FriendFirmado Jacques Villon, Grabado Aguatinta, Vase with Pink Roses, after Vincent Van Gogh, 1927  |
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| Artista: | Villon, Jacques (1875 - 1963) |
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| Título: | Vase with Pink Roses, after Vincent Van Gogh, 1927 |
| Medio: | Grabado Aguatinta |
| Dimensiones del Ilustración: | 15 in x 19.5 in (38 cm x 49.5 cm) |
| Dimensiones del Marco: | 42 in x 39 in (106.68 cm x 99.06 cm) |
| Firmado: | Hand signed by Jacques Villon (1875-1963) in pencil in the lower right margin |
| Edición: | Numbered 158/200 in pencil in the lower left margin. The names of the engraver and publisher appear in the plate along the upper margin of the work: 'Gravé par Jacques Villon 1921' and also noted in the plate in the lower right, 'Van Gogh.' |
| Condición: | Beautiful condition with bright colors throughout |
| Precio: Artículo# 2035 | Vendido. Please visit the rest of our Villon fine art collection |
| Descripción Histórica: | |
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Assaulting the senses, this image captures the floral beauty of the bouquet and intimates the presence of a caressing breeze. Villon captures both the subtleties of texture and tonality, delicately replicating van Gogh's poetic composition. Adapted from Vincent van Gogh's 1890 composition, titled Vase with Pink Rose, Jacques Villon engraved this image in 1927. Bernheim-Jeune of Paris published the work out of the edition of 200. The name and address of the editor appear in the upper left of the plate and the name of the printer in the upper right. Hand signed by Jacques Villon in pencil in the lower right margin, the work is also marked with an ornate blind stamp that appears as overlapping "ADA" or "APA" in the lower left margin. Painted in May of 1890, this work signifies van Gogh's valiant recovery from an illness he suffered from between February and April of that same year. Upon his recovery, van Gogh, wrote to his brother stating that the beauty of his surroundings was so compelling he had little time to rest. Van Gogh's new found strength and inherent agitation is discreetly sown into this composition. While the viewer enjoys the poetics of the delicate bouquet of roses, delighting in their haphazard arrangement and exuberant rendering, it is difficult to comprehend that this image was painted only two months before the artist's death. Intended for his brother Theo, van Gogh created this work as an object of decoration, however, the symbolic nature of the image cannot be denied. Drawing upon his sensitive romantic nature, van Gogh delicately suggests the lace like forms of the roses. This delicate suggestion stresses the traditional symbolism of flowers as representations of purity and mortality. As we the viewer enjoy their beauty, the rose has already begun to decay, reminding us of our own transience. Catalogue Raisonné & COA: 1) Ginestet, Colette de and Pouillon, Catherine, Jacques Villon: Les Estampes et Les Illustrations Catalogue Raisonné, 1979 listed on page 404-405 listed as image E 651. About the Framing: | |
| Estilo: | 20th Century French Modern Master; After Picasso, Matisse, Van Gogh, Manet and Cezanne |
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Jacques Villon biografía
Villon, Jacques (Gaston Duchamp). French painter, born in Damville; died in Puteaux. Villon was the brother of Marcel Duchamp, Raymond Duchamp Villon and Suzanne Duchamp. After studying law he settled in Paris in 1894, where he worked in Cormon's studio and earned his living as a draughtsman. During this period he contributed to the magazines Le Chat noir, Gil Blas, Lassiette au Beurre and Le Courrier franqais. In 1904 he became a founder member of the Salon d'Automne, in which he regularly exhibited. In 1912 he helped to organize the Section d'Or exhibition, and in 1913 took part in the International Exhibition of Modern Art (the Armory Show) in New York, at which he sold nine pictures. Between 1921 and 1930 he produced thirty-four prints for Architectures.
In 1937 he won an award for painting and graphic art at the International Exhibition of Art in Paris. In 1940-1 he was in Bernay with Mme Andre Mare. In 1944 he became friendly with Louis Carre and exhibited in his gallery. In 1949 he won the Grand Prix for graphic art in Lugano, and in 1950 took part in the Twenty fifth Biennale in Venice, and won the Carnegie Prize in Pittsburgh. In 1954 he was made Commandeur de la Legion d' Honneur and Commandeur des Arts et Lettres. In 1956 he won the Grand Prix for painting at the Twenty-eighth Biennale in Venice and in 1958 the Grand Prix at the International Exhibition in Brussels. In 1961 he was made an honorary member of the American Academy of Arts and Letters and the National Institute of Arts and Letters in the United States.
During his early period, when he worked primarily as a draughtsman and etcher, Villon was influenced by Steinlen and Toulouse-Lautrec. In 1906 he became more interested in painting, and during the next five years took his lead from Degas and the Fauves. Then, in 1911, he embraced Analytical Cubism, which satisfied his need for order and discipline. Subsequently, he tried to develop a new style of painting based on mathematical proportions corresponding to the golden section. Later, between 1919 and 1929, he painted abstracts, in which he sought to represent the essence of objects by means of signs and not properties. During this period he restricted his palette to greys and browns. In 1930 he began to use colours from the prismatic sequence of tones. After this abstract phase Villon reverted, in 1933, to natural forms and pure colours. In c. 1950 he stopped painting landscapes and figure compositions, and evolved a new and carefully thought-out form of abstract painting, for which he used cool colours.
