Jacques Villon, Les bucoliques (The Countryside)
|Artist:||Jacques Villon (1875 - 1963)|
|Title:||Les bucoliques (The Countryside)|
|Image Size:||8 in x 19 1/2 in (20.5 cm x 49.5 cm)|
|Sheet Size:||12 in x 22 in (30.5 cm x 55.9 cm)|
|Framed Size:||21 1/2 in x 31 1/4 in (54.6 x 79.4 cm)|
|Signature:||Jacques Villon, in pencil in the lower right|
|Condition:||Pristine condition with bright vivid coloration|
Item # 865
|Have One To Sell?|
Historical Description of this artwork
Using varied tones of yellow, purple and green, Villon creates an image of bifurcated visual plains that intrigue the eye. Contrasting the pastoral fields of the country with the modernity of the cubist aesthetic, the artist creates an image that represents the colliding lifestyles of the modern period.
This image was created as an illustration for Paul Valéry’s volume entitled Les Bucoliques which was written between 1942-1944 for the Society Scripta and Picta. The twenty illustrations for the volume were drawn on stone by Jacques Villon with each color having a unique stone, 320 in all. The edition was printed by Célestin on the Mourlot press. This particular work is one of the few examples which were hand-signed by the artist.
Grazing animals descend right to left on a forty-five degree angel across the picture plain. Villon offers a unique abstraction of nature by reducing the environment that inspired the image while including the organic forms of sheep and horses, heighting the angularity of the image. The artist’s use of coloration further lends a sense of the pastoral with the warmth of the yellow, the lush green and the rich purple.
The work of Jacque Villon maybe compared to Archipenko, Arp, Braque, Cocteau, Leger, Moore, Papart and Picasso.
Catalogue Raisonné & COA:
It is fully documented and referenced in (copies will be enclosed as added documentation with the invoices that I will accompany the final sale of the work) :
1) Ginestet, Colette de and Pouillon, Catherine, Jacques Villon: Les Estampes et Les Illustrations Catalogue Raisonné, 1979 listed on page 376-377 listed as image E 572.
2) A Certificate of Authenticity will accompany this work.
About the Framing:
Les Bucoliques is framed in a Rococo inspired frame with fluid gilt feather detailing. The guilt tones of the frame enhance the coloration of the image while the dark wood tones and inner fillet compliment the geometric composition. The framing is completed with cream linen mattes.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
You may also like
We have openings for a few new members each day. Members receive exclusive offers on our entire inventory. Join Now!
A Villon etching, lithograph or drawing is an excellent first piece for you fine art collection. At 25-50% off gallery retail prices, you can invest with confidence.
Sell Your Villon
Sell your Villon fine art with us. We offer free evaluations.
Artistic Styles of Villon
20th Century French Modern Master; After Picasso, Matisse, Van Gogh, Manet and Cezanne
Jacques Villon Complete Biography
News About Villon
Masterworks Fine Art strives to be the best source of fine art for our clients and collectors all over the world. We also want to be an educational resource to the artcommunity. We have educational fine art material for students and researchers, and we will continue to donate fine art to charities. You can see some of our donationsmade by Masterworks Fine Art. We believe the most direct way to accomplish this is byestablishing a lifetime of personal and professional relationships with our clients. More About Us »
Jacques Villon Biography
Jacques Villon (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.