Jacques Villon, Nu (Nude), after Pierre-Auguste Renoir
|Artist:||Jacques Villon (1875 - 1963)|
|Title:||Nu (Nude), after Pierre-Auguste Renoir|
|Medium:||Original color aquatint|
|Image Size:||23.2 in x 17.4 in (59 cm x 44.3 cm)|
|Sheet Size:||approx 27 in x 20 in (68.6 cm x 50.8 cm)|
|Framed Size:||45 in x 37 1/4 in (114.3 cm x 94.6 cm)|
|Condition:||Expert conservation has been performed to ease creasing within the sheet and minor tearing in the margins, not affecting the image.|
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Item # 2423
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Historical Description of this artwork
Created after and original work by Pierre-August Renoir (1841 – 1919), Nu is a color aquatint by famed engraver, Jacques Villon. Printed by la Chalcographie du Louvre and published by Bernheim-Jeune, Paris out of the total edition of 200 colored proofs with an edition of unnumbered and unsigned proofs. Examples of this work have been exhibited since 1928 at the Galerie Bernheim-Jeune, Paris and also at the Light Gallery in New York, 1964.
1. Ginestet, C. & Pouillon, C. Jacques Villon: Les Estampes et Les Illustrations, Catalogue Raisonné. Arts et Métiers Graphiques: Paris. Listed and illustrated as catalogue raisonné no. E617 on pgs. 396-7.
About The Framing:
This work is set in a beautiful, Spanish-style black and gold moulding that gracefully complements this marvelous work. Its intricately carved detailing serves to accent Renoir’s ornate composition, echoing the movement and fluidity of the Nu within this scene. Completed with white, linen-wrapped mats and a matching, gold inner fillet, this work is set behind a Plexiglas® cover.
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.
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Artistic Styles of Villon
20th Century French Modern Master; After Picasso, Matisse, Van Gogh, Manet and Cezanne
Jacques Villon Complete Biography
News About Villon
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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.