Villon, Jacques, La Montagne Sainte-Victoire au Grand Pin, after Paul Cezanne
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Email to FriendSigned Jacques Villon, Lithograph, La Montagne Sainte-Victoire au Grand Pin, after Paul Cezanne  |
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| Artist: | Villon, Jacques (1875 - 1963) |
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| Title: | La Montagne Sainte-Victoire au Grand Pin, after Paul Cezanne |
| Medium: | Lithograph, Two Prints |
| Image Size: | 17 1/4 in x 23 3/4 in (43.8 cm x 60.3 cm) |
| Sheet Size: | 20 in x 24 in (50.8 cm x 61 cm) |
| Framed Size: | 29 1/2 in x 35 1/2 in (75 x 90 cm) |
| Signed: | Jacques Villon, in pencil in the lower right |
| Edition: | Numbered from the editon of 200 |
| Condition: | The work is in pristine and excellent condition. No damage |
| Gallery Price: Item# 860 | Sorry, this item is sold. Please visit the rest of our Villon fine art collection |
| Historical Description: | |
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"When he is confronted with the great Masters, an artist learns to think. But when he confronts Nature, he learns to see." Paul Cezanne This unique pair of lithographs offers a spectacular example of Cezanne's unique understanding and expression of nature. The black and white image allows the viewer to study Cezanne's expressive use of form, while the color image offers a brilliant example of the artist's unparalleled understanding of color. Created in 1924 after an original painting circa 1885-1887, this image was published by the Chalcographie du Louvre and printed by Jacques Villon in an edition of two hundred of which the colored print is an example. The black and white image is a signed artist's proof aside from the edition of two hundred. Functioning as a rare example of the creative process, this pair of aquatints not only represents the artistic aesthetic of Cezanne but more over offers a glimpse of the printing process and the frequently over looked prowess of the master printer. The trial black and white image was produced by the printer in order to verify that the tonality of the work would be vibrant and crisp which is displayed in the final color image. The rarity of this pair is further exemplified by the rare image on the back of the black and white trial proof. Villon used a half sheet of paper on which he had previously printed a color proof of Picasso's, Les Saltimbanques created circa 1922-1923. Of Cezanne's landscapes Hajo Duchting states, "the late landscapes have been purged of instinctual energies and are subject to laws of their own, an inner excitement achieved solely by dedicated artistic scrutiny, which Cezanne communicates through the vibrancy of his colours. And thus the artist's imaginative powers, spurred by the visual phenomena of Nature, vision forth the secret locus of metamorphosis, where all things are purged and purified" (Duchting, 195-96) . Catalogue Raisonné & COA: 1) Venturi, Lionello, Cézanne Son Art - Son Oeuvre: Catalogue Raisonné, Volumes I & II, 1989, listed in Volume I on page 162 and Volume II as plate 454. 2) Ginestet, Colette de and Pouillon, Catherine, Jacques Villon: Les Estampes et Les Illustrations Catalogue Raisonné, 1979 listed on page 396-397 listed as image E 639. About the Framing: | |
| Style: | Impressionism, Modern Art |
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Biography of Jacques Villon
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.
