Georges Rouault *
(Paris 1871–1958)
Pierrot debout aux rideaux rouges, entrée en scène, signed, oil on cardboard, laid down on wood, 52.8 x 41.9 cm, framed
This work is accompanied by a photo-certificate, issued by the Fondation Georges Rouault, Paris, June 7, 2007.
Provenance:
Ambroise Vollard, Paris
Sale: Sotheby’s London, Impressionist & Modern Works on Paper, June 20, 2007, lot 466
Private Collection, USA (acquired at the above sale)
Sale: Christie’s New York, Impessionist & Modern Art Day sale, November 17, 2016, lot 1348
Private Collection, Germany (acquired at the above sale)
As a co-founder of the Salon d’Automne (1903), Georges Rouault initially belonged to the Fauves circle, but soon went his own way and became one of the most important exponents of modern religious painting.
Alongside religious motifs, the subject of the clown forms the second major thematic area within Rouault’s œuvre.
Following a formative personal encounter with a clown, which he recorded in a letter to the author Edouard Schuré, numerous Pierrots, Harlequins and clowns found their way onto the artist’s canvases.
What fascinated him about these figures was the tragicomic simultaneity of wearing a mask in both senses of the word and radiating cheerfulness and light-heartedness.
Estimate
Time, Location
Auction House
(Paris 1871–1958)
Pierrot debout aux rideaux rouges, entrée en scène, signed, oil on cardboard, laid down on wood, 52.8 x 41.9 cm, framed
This work is accompanied by a photo-certificate, issued by the Fondation Georges Rouault, Paris, June 7, 2007.
Provenance:
Ambroise Vollard, Paris
Sale: Sotheby’s London, Impressionist & Modern Works on Paper, June 20, 2007, lot 466
Private Collection, USA (acquired at the above sale)
Sale: Christie’s New York, Impessionist & Modern Art Day sale, November 17, 2016, lot 1348
Private Collection, Germany (acquired at the above sale)
As a co-founder of the Salon d’Automne (1903), Georges Rouault initially belonged to the Fauves circle, but soon went his own way and became one of the most important exponents of modern religious painting.
Alongside religious motifs, the subject of the clown forms the second major thematic area within Rouault’s œuvre.
Following a formative personal encounter with a clown, which he recorded in a letter to the author Edouard Schuré, numerous Pierrots, Harlequins and clowns found their way onto the artist’s canvases.
What fascinated him about these figures was the tragicomic simultaneity of wearing a mask in both senses of the word and radiating cheerfulness and light-heartedness.
Estimate
Time, Location
Auction House
