Auction Date:2015 Jul 29 @ 20:00 (UTC-7 : PDT/MST)
Location:2320 W Peoria Ave Suite B142, Phoenix, Arizona, 85029, United States
Limited edition print published in the early 1960s. Reproduction from original painting authorized by the Museum of Fine Arts, Boston. Measures 22.5" x 28.5" in size. See photos for condition.
Rare vintage Limited edition lithograph published om archival paper in the early 1960s by the world renowned publisher Shorewood Press. Created from the original painting The Clown 1940
Museum masterpiece painting by Georges Roualt authorized by the and S.P.A.D.E.M. Measures 22.5" x 28.5" in size. See photos for condition.
Produced by SPADEM (the Société de la Propriété Artistique et des Dessins et Modules), signed in the print. SPADEM is a copyright protection and collection society in France formed by visual artists and their heirs. This organization defends the legal rights of artists, ensuring that they receive the credit and profit due to them from the sale and distribution of their works. SPADEM is a legitimate organization that does publish reproductions of artist’s works
These SPADEM produced works are of collectable value, and allow you to enjoy the wonderful images created by famous artists with excellent color and detail of the multimillion dollar originals
Kept Flat, in a Smoke, Dust, and UV Light Free storage for over 50 years that has allowed the Image to retain its brilliancy without any fading.
The art of Georges Rouault
Georges Rouault was 34 years old and barely recovered from a physical and nervous breakdown when he had a life-changing epiphany in 1905, which he described in a letter to his friend, édouard Schuré. While out walking one day, the artist happened to come across a “nomad caravan, parked by the roadside.” It was a circus, preparing for its next public performance. Rouault’s eye fell upon one of the figures: an “old clown sitting in a corner of his caravan in the process of mending his sparkling and gaudy costume.” It was then that Rouault had a piercing flash of insight, one that was to affect deeply his vision of life and art.
The artist was utterly struck by the jarring contrast between the clown’s external garb and professional accoutrements—“brilliant scintillating objects, made to amuse”—and the wretchedness of his condition as an impoverished, vagabond laborer living on the fringes of society, enduring a “life of infinite sadness, if seen from slightly above.” From that contrast came another equally eye-opening realization: “I saw quite clearly that the ‘Clown’ was me, was us, nearly all of us.... This rich and glittering costume, it is given to us by life itself, we are all more or less clowns, we all wear a glittering costume....” (Rouault summed up this vision in several studies entitled “Sunt Lacrymae Rerum”—“There are tears [of grief] at the very heart of things.”)
From that moment on, the clown, as well as other circus figures and denizens of the disreputable periphery of society, haunted Rouault’s imagination and art, becoming one of his signature icons. An icon of what? Of the painful disconnection between appearances and reality, between who we are on the inside and who we pretend to be, or what society judges us to be, on the outside. Rouault confronts us on the one hand with clowns and prostitutes, whose real (if battered and buried) human dignity nonetheless still emits some light from within their souls, and on the other hand with the furthest extreme of the social spectrum: the rich, the well-born, the powerful, the “glitterati,” wearing the masks of their expensive clothes and polished manners, hiding cruel, narcissistic hearts full of dust and ashes. (See, for example, Rouault’s “The Accused” of 1907 and “Superman” of 1916). In his professional life Rouault knew this type well, for it was and is a familiar figure in the upper echelons of the art establishment. His own art dealer, the unsavory but hugely successful Ambroise Vollard, certainly seems to have been of that ilk.
To commemorate the 50th anniversary of Rouault’s death, the McMullen Museum at Boston College has mounted a magnificent, comprehensive review of his prodigiously productive career, Mystic Masque: Semblance and Reality in Georges Rouault, 1871-1958, on view until Dec. 7. This landmark exhibition features over 180 works from every period of the artist’s life, some never before seen in the United States. The exhibition was boldly conceived and curated by Stephen Schloesser, S.J., of the Boston College History Department, who also edited an ample and illuminating catalog that features interdisciplinary contributions from more than 20 scholars.
Georges Henri Rouault (French: [???? ?uo]; 27 May 1871 – 13 February 1958) was a French painter, draughtsman, and printer, whose work is often associated with Fauvism and Expressionism.
A pioneering expressionist painter (influenced by the German Expressionists, though not formally associated with that group), Georges Rouault created pictures recognizable for the thick black brushstrokes that outline their subjects, as in le lutteur, no. 3 (1913). Rouault’s works resemble the cloissonisme of decorative glasswork, a look often attributed to the artist’s teenage years spent as a glass painter’s apprentice. In 1891 Rouault enrolled at the École des Beaux-Arts and studied closely under Symbolist Gustave Moreau. He later associated with the Fauvists and collaborated with Henri Matisse and André Derain to organize the Salon d’Automne, an exhibition of progressive art rejected by the more conservative Paris Salon. But rather than create pleasing “armchair” pictures like those of many of his contemporaries, Rouault applied his rough painterly style to religious subjects, clowns, and circus performers, using these motifs to reflect on religion, morality, and modern life
French painter, draughtsman and printmaker. Although he first came to prominence with works displayed in 1905 at the Salon d’Automne in Paris, in the company of paintings by Henri Matisse and other initiators of Fauvism, he established a highly personal and emotive style. His technique and palette were also highly personal, and they ranged from watercolour blues to a rich, thick application of materials. These demonstrate, in their very complexity, not only originality but also the craft of the artist always in search of a greater form of expression. Even though he never stopped observing mankind, his deep religious feeling allowed him to imbue his work with great spirituality.
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2320 W Peoria Ave Suite B142, Phoenix, Arizona, 85029, United States
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