Vincent Van Gogh, Jacques Villon Le Paysan (The Peasant), 1927, After Van Gogh
Signed Vincent Van Gogh Aquatint, Jacques Villon Le Paysan (The Peasant), 1927, After Van Gogh
|Artist:||Vincent Van Gogh (1853 - 1890)After|
|Title:||Jacques Villon Le Paysan (The Peasant), 1927, After Van Gogh|
|Medium:||Color aquatint on wove paper|
|Image Size:||15 1/2 in x 12 1/2 in (39.4 cm x 31.8 cm)|
|Sheet Size:||22 3/8 in x 17 1/8 in (56.8 cm x 43.5 cm)|
|Framed Size:||approx. 33 3/8 in x 28 1/8 in (84.8 cm x 71.4 cm)|
|Edition:||Numbered from the edition of 200 in pencil; published by Bernheim-Jeune, Paris.|
|Signature:||This work is hand signed by Jacques Villon (Eure, 1975 – Puteaux, 1963) in pencil and inscribed with ‘d’apres Van Gogh’.|
|Condition:||This work is in excellent condition.|
REQUEST PRICE/SUBMIT BEST OFFER
|Have One To Sell?|
Historical Description of this artwork
Vincent Van Gogh Jacques Villon Le Paysan (The Peasant), 1927, After Van Gogh depicts the lined and weathered face of a man placed against a warm and complex yellow background. This same color is mirrored in the eyes of the man. Villon mimics Van Gogh’s painterly brushstrokes, which creates beautiful lines and creases in the man’s face. His hands are clutched in front of his chest and he looks contemplatively out of the image – he does not make eye contact with the viewer, but looks over our shoulder. The expressiveness in the man’s face endears us to him, and creates an intimacy between the viewer and the subject.
Created in 1927 after a artwork by Vincent Van Gogh (Zundert, 1853 – Auvers-sur-Oise, 1890), this color aquatint on wove paper is hand signed by engraver Jacques Villon (Eure, 1875 – Puteaux, 1963) in pencil and inscribed with ‘d’apres Van Gogh,’ numbered from the edition of 200 in pencil; published by Bernheim-Jeune, Paris.
Catalogue Raisonné & COA:
Vincent Van Gogh Jacques Villon The Peasant (Le Paysan), 1927, After Van Gogh is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the sale of the work).
1. Ginestet, Colette de and Pouillon, Catherine, Jacques Villon: Les Estampes et Les Illustrations Catalogue Raisonné, 1979. Listed and illustrated as catalogue raisonné no. E653.
2. A Certificate of Authenticity will accompany this artwork.
About the Framing:
Framed to museum-grade, conservation standards, Vincent Van Gogh Jacques Villon The Peasant (Le Paysan), 1927, After Van Gogh is presented in a complementary moulding and finished with silk-wrapped mats and optical grade Plexiglas.
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!
Why van Gogh?
Our collection occasionally includes Van Gogh lithographs, prints, and originals, with authentic signature.
Sell Your van Gogh
Sell your van Gogh fine art with us. We offer free evaluations.
Artistic Styles of van Gogh
Vincent van Gogh Complete Biography
News About van Gogh
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 »
Vincent van Gogh Biography
“Vincent van Gogh was born near Brabant, the son of a minister. In 1869, he got a position at the art dealers, Goupil and Co. in The Hague, through his uncle, and worked with them until he was dismissed from the London office in 1873. He worked as a schoolmaster in England (1876), before training for the ministry at Amsterdam University (1877). After he failed to get a post in the Church, he went to live as an independent missionary among the Borinage miners.
“He was largely self-taught as an artist, although he received help from his cousin, Mauve. His first works were heavily painted, mud-colored and clumsy attempts to represent the life of the poor (e.g. Potato-Eaters, 1885, Amsterdam), influenced by one of his artistic heroes, Millet. He moved to Paris in 1886, living with his devoted brother, Theo, who as a dealer introduced him to artists like Gauguin, Pissarro, Seurat and Toulouse-Lautrec. In Paris, he discovered color as well as the divisionist ideas which helped to create the distinctive dashed brushstrokes of his later work (e.g. Pere Tanguy, 1887, Paris). He moved to Arles, in the south of France, in 1888, hoping to establish an artists’ colony there, and was immediately struck by the hot reds and yellows of the Mediterranean, which he increasingly used symbolically to represent his own moods (e.g. Sunflowers, 1888, London, National Gallery). He was joined briefly by Gauguin in October 1888, and managed in some works to combine his own ideas with the latter’s Synthetism (e.g. The Sower, 1888, Amsterdam), but the visit was not a success. A final argument led to the infamous episode in which Van Gogh mutilated his ear.
“In 1889, he became a voluntary patient at the St. Remy asylum, where he continued to paint, often making copies of artists he admired. His palette softened to mauves and pinks, but his brushwork was increasingly agitated, the dashes constructed into swirling, twisted shapes, often seen as symbolic of his mental state (e.g. Ravine, 1889, Otterlo). He moved to Auvers, to be closer to Theo in 1890 – his last 70 days spent in a hectic program of painting. He died, having sold only one work, following a botched suicide attempt. His life is detailed in a series of letters to his brother (published 1959).”