Edouard Vuillard (1868-1940) Madame Vuillard... - Lot 115 - Aponem

Lot 115
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Estimation :
45000 - 55000 EUR
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Result : 56 880EUR
Edouard Vuillard (1868-1940) Madame Vuillard... - Lot 115 - Aponem
Edouard Vuillard (1868-1940) Madame Vuillard in her salon, rue de Calais, circa 1908 Painting with glue on paper mounted on canvas Bears the artist's stamp in the lower right corner 62 x 79 cm Bibliography : Antoine Salomon and Guy Cogeval, Vuillard, Catalogue critique des peintures et pastels, volume II, Paris, 2003, no. IX-2 reproduced in black and white p.1032. Provenance: - Artist's studio - Louis Carré, Paris - Collection PArticulière, Paris. The gentle atmosphere of Vuillard's scenes of daily life, which he made a favorite subject, qualifies him as an autobiographical "intimist" artist. Around 1908, Vuillard depicted his mother in the half-light of a bourgeois interior. At this time, he moved away from the Nabi stylization, and rediscovered a certain use of perspective and light modeling. Vuillard tirelessly observed his mother in her daily activities. Here he paints her sewing, but also sometimes reading, or doing household chores. A former seamstress, she raised her son in the hushed atmosphere, filled with ribbons and fabrics, of the workshop she ran. Madame Vuillard (born Alexandrine Justinienne Marie Michaud) was 27 years younger than her husband, a retired military man, when he died. Quickly widowed and without means of support with two children to support, Edouard and his sister, she opened a sewing workshop. This complicity lasted for nearly 60 years. No doubt Vuillard retained a love of wallpaper, tablecloths and clothing that can be found in countless paintings. This taste was reinforced by the decorative motifs of certain Japanese prints, themselves inspired by the designs of kimonos. In this work, Vuillard expresses the daily poetry of this closed universe, a little suffocating, invaded by objects and fabrics, where, in a way that is usual for him, he plays on the minute nuances of tones, primary colors and light. In delicate harmonies, which merge as in a tapestry, Vuillard has only suggested the forms to better render the intimate softness of this setting, as well as the solitude and incommunicability between beings, even those who are very close. This very personal work comes directly from the artist's studio, then resold to the Louis Carré gallery, it joined a private French collection and then a second one at the beginning of the 21st century before being offered on the art market. Mallarmé to Verlaine: "I wave little, preferring to everything, in an apartment defended by the family, the stay among some old and expensive furniture and the sheet of paper often white [.]
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