Lot

99

MAURICE UTRILLO - Huile sur toile

In Galerie Dreyfus Auction

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MAURICE UTRILLO - Huile sur toile
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Binningen
MAURICE UTRILLO , PARIS, 1883 - DAX, 1955

Church of Saint-Rémy in Domrémy under the snow

Oil on canvas 34 x 47 cm

Of the present-day church of Saint-Rémy one recognises above all the massive, quadrangular bell tower-porch with its double-pitched roof. Probably depicted from the chevet, around which the village cemetery was spread out, the church nevertheless offers some deviations from reality. The succession of sloping roofs with different orientations, which would indicate a strangely complex architecture, suggests that the painter is depicting the building from memory. The double-arched openings in the bell tower have thus become, under his palette, two distinct windows topped by an oeil-de-boeuf. But the overall impression is nonetheless the right one, restoring the blonde stone of this village church whose snow-covered roofs and grey sky overhead transport us into the coldness of a Vosges winter. The composition, characteristic of Utrillo, leaves plenty of room for his orthogonal treatment of the architecture. With his signature naive and fresh style, he arranges his figures, small puppets with outstretched arms, according to the laws of perspective, making them decrease in size as they move away. Their bright colours contrast with the ochre and white palette of the church and the winter landscape, whose bare silhouettes of the trees on the right accentuate the depth of space.


Maurice Utrillo (1883-1955) was a French painter who devoted himself mainly to urban landscapes. The son of the painter and model Suzanne Valadon, but of an anonymous father, he was to experience a troubled life, under the influence of alcoholism. Recognised late by the Catalan painter Utrillo, his mother's lover, he took his mother's name in 1891. Immersed in the bohemian artistic milieu of his mother's entourage, he was encouraged to paint by his mother. His signature testifies to his attachment to her, with the final 'V.' for 'Valadon'. Trained by the painter Alphonse Quizet, he settled in Montmartre, which he chose as his favourite subject for his painting. He painted the streets and cafés, which they frequented assiduously, where rare human silhouettes sometimes slipped in. During his 'white period' (1909-1914), he used zinc, which he mixed with plaster to convey the decrepitude of the walls of Montmartre. His naïve style nevertheless renders the topography of the place with precision. His acute sense of observation creates an atmosphere marked by a certain melancholy. A prolific but fragile painter, although he made early profits from his painting, his nervous and ethylic crises led him to several suicide attempts. However, sponsored by his mother's friends, Renoir and Degas, he gained notoriety thanks to the art dealer Paul Guillaume, who organised his first major exhibition in 1922.

Certificate: Petrides et Fabris.
Signatur: Signed and dated lower right.
MAURICE UTRILLO , PARIS, 1883 - DAX, 1955

Church of Saint-Rémy in Domrémy under the snow

Oil on canvas 34 x 47 cm

Of the present-day church of Saint-Rémy one recognises above all the massive, quadrangular bell tower-porch with its double-pitched roof. Probably depicted from the chevet, around which the village cemetery was spread out, the church nevertheless offers some deviations from reality. The succession of sloping roofs with different orientations, which would indicate a strangely complex architecture, suggests that the painter is depicting the building from memory. The double-arched openings in the bell tower have thus become, under his palette, two distinct windows topped by an oeil-de-boeuf. But the overall impression is nonetheless the right one, restoring the blonde stone of this village church whose snow-covered roofs and grey sky overhead transport us into the coldness of a Vosges winter. The composition, characteristic of Utrillo, leaves plenty of room for his orthogonal treatment of the architecture. With his signature naive and fresh style, he arranges his figures, small puppets with outstretched arms, according to the laws of perspective, making them decrease in size as they move away. Their bright colours contrast with the ochre and white palette of the church and the winter landscape, whose bare silhouettes of the trees on the right accentuate the depth of space.


Maurice Utrillo (1883-1955) was a French painter who devoted himself mainly to urban landscapes. The son of the painter and model Suzanne Valadon, but of an anonymous father, he was to experience a troubled life, under the influence of alcoholism. Recognised late by the Catalan painter Utrillo, his mother's lover, he took his mother's name in 1891. Immersed in the bohemian artistic milieu of his mother's entourage, he was encouraged to paint by his mother. His signature testifies to his attachment to her, with the final 'V.' for 'Valadon'. Trained by the painter Alphonse Quizet, he settled in Montmartre, which he chose as his favourite subject for his painting. He painted the streets and cafés, which they frequented assiduously, where rare human silhouettes sometimes slipped in. During his 'white period' (1909-1914), he used zinc, which he mixed with plaster to convey the decrepitude of the walls of Montmartre. His naïve style nevertheless renders the topography of the place with precision. His acute sense of observation creates an atmosphere marked by a certain melancholy. A prolific but fragile painter, although he made early profits from his painting, his nervous and ethylic crises led him to several suicide attempts. However, sponsored by his mother's friends, Renoir and Degas, he gained notoriety thanks to the art dealer Paul Guillaume, who organised his first major exhibition in 1922.

Certificate: Petrides et Fabris.
Signatur: Signed and dated lower right.

Galerie Dreyfus Auction

Sale Date(s)
Lots: 1-118
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Important Information

In addition to the auction price, the buyer shall pay commissions and taxes:

-to 250,000 CHF: 25%
-to 2,000,000 CHF: 20%
-above 2,000,001 CHF: 15%

+ VAT at the prevailing rate.
VAT on commissions and import costs may be retroceded to the successful bidder on presentation of proof of export outside SWITZERLAND.

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