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Élisabeth Dujarric de La Rivière
Elisabeth Dujarric de la Rivière (1930-2005) Self-portrait with palette

1950

About the Item

Elisabeth DUJARRIC de LA RIVIÈRE (Jouy-en-Josas 1930 - Excideuil 2005) Self-portrait with apple Oil on canvas H. 100 cm ; L. 73 cm Signed on the back Provenance: Private collection, Périgord Born in the heart of the Bièvre valley, a few kilometers from Versailles, Elisabeth Dujarric nevertheless comes from two important families, whose origins lie elsewhere. She is the daughter of Marcelle Friedmann, whose parents have retained German ties, mainly in Berlin where Adolphe Friedmann is an eminent businessman. On his father's side, the Dujarric de la Rivière have been living in Périgord for several centuries and their traces can be found in Agonac and Trélissac in the 18th and 19th centuries. It is in Saint Sulpice d'Excideuil in the north-east of the department that the family settled, at the famous Château de la Rivière with which they will adorn their name. Scholars, doctors, scientists, artists, the members of this family will bring some additional letters of nobility to Périgord. Elisabeth's father, an eminent researcher, will be a member of the Academy of Medicine in part by his discoveries on the Spanish flu. The Périgueux hospital still bears his name today. In this isolated Perigord house in the countryside, Elisabeth Dujarric will create a workshop where she will work in the summer, while she lives in Paris to get away from the harsh winters. Within the capital, she will be a fervent protector of the city of artists called "La Ruche", well known to lovers of modern art since a few young people without means have been able to create their works there, like Modigliani, Soutine , Léger, Laurencin, Zatkine, Dorignac and even Chagall. After courses in History of Art at the Sorbonne and visits to the Jullian and La Grande Chaumière Academies, Elisabeth Dujarric will receive in 1957 the prize for the Salon de la Jeune Peinture held at the Musée d'Art Moderne de la city of Paris. This award is part of her first period of work where she developed a style all in materials, with broken perspectives, modified hues and focusing mainly on portraits and still lifes. In the 1960s, she changed her style as evidenced by the exhibitions in the Parisian galleries of the time, where the artist presented everyday subjects in light colors with atypical framing and compositions. This moving self-portrait must be able to be dated to the 1950s, where in her youth Elisabeth Dujarric worked with this thick and sensitive technique, with a rather dark alliance of ocher and gray tones: the colors of the earth. The voluntary disproportion of the hands in relation to the body and the face, the very elongated neck, give this portrait a strong personality.
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