Fauv Impressionist harbor scene, "Sailboats at the Quai du Parti, Toulon"

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Achille-Émile Othon Friesz
Fauv Impressionist harbor scene, "Sailboats at the Quai du Parti, Toulon"
1926

About the Item

One of the more well known Fauvists, Achille-Emile Othon Friesz was born in Le Havre in 1879 into a family with a long history with the sea. He began his formal artistic training at a young age when he matriculated into the École municipale des Beaux-arts, where he studied with Charles Lhuiller, a museum curator and a painter of local renown. At the École in Le Havre, Othon Friesz befriended his fellow students Georges Braque and Raoul Dufy, both of whom would become life-long friends and colleagues. Friesz was awarded a scholarship in 1897 and entered the École des Beaux-arts in Paris, where he studied with the painter Léon Bonnat and copied the Old Masters at the Louvre. It was the work of the Impressionists and the Post-Impressionists, especially Gauguin and van Gogh, however, that most appealed to Friesz, who was soon to be in the forefront of a generation of young painters revolting against the established and traditional academic masters. He debuted at the Salon of the Indépendants in 1903 and the Salon d’Automne in 1905, where he participated in the watershed exhibition of brightly colored works by Matisse, Marquet, Dérain, and others who were to be known as the fauves, or “wild beasts.” During the summer of 1906, with Georges Braque, Friesz travelled to Antwerp, where they both executed works in the bright, high-keyed fauvist palette. The following year, Friesz and Braque traveled to the south of France and worked under the bright, non-diffuse Mediterranean light at L’Estaque and La Ciotat, like Matisse and Dérain had done in Collioure in 1905. Friesz focused on pure color and its juxtaposition at the expense of descriptive detail, privileging color above all and creating artworks of near abstraction unrivaled by any other fauve except Matisse. Back in Paris, while Braque worked with Picasso on the development of cubism, Othon Friesz was introduced to the work of Cézanne. Inspired by the logical and deliberate compositions of Cézanne, Friesz executed landscapes, still lifes, and marines composed of energetic yet controlled brushstrokes, subtle color contrasts, and lack of overly descriptive detail. Eventually, Friesz would moderate the brilliance of his palette, utilizing ochre, browns, greens, and cooler blues, and reign in his loose expressive brushwork. In 1910, the art critic Roger Fry organized the exhibition Manet And The Post Impressionists at the Grafton Galleries in London. Although a public and critical failure, the exhibition introduced the public and artists to the work of Seurat, Van Gogh, Gauguin and Cézanne and was a landmark in western art history. After serving in the Great War, Othon Friesz returned to Paris and resumed exhibiting at the Salon des Indépendants and the Salon d’Automne, as well as with his dealers Eugène Druet and Berthe Weill at Galerie E. Druet and Galerie B. Weill in Paris. Friesz also also garnered a reputation throughout Europe and in North America from exhibitions in Moscow, London, Berlin, and New York. He remained in Paris with occasional jaunts to the Jura Mountains in the east and the port of Toulon in the south of France. During the last thirty years of his life, he painted in a style completely removed from that of his earlier colleagues and his contemporaries. Having abandoned the lively arabesques and brilliant colors of his fauve years, Friesz returned to the more sober palette he had learned at Le Havre from Charles Lhuillier and resurrected an early admiration for the French masters Nicholas Poussin, Jean-Baptiste Siméon Chardin, and Camille Corot. In 1937, Friesz was commissioned to decorate the newly constructed Palais de Chaillot in Paris—built for the Exposition Internationale—with his childhood friend Raoul Dufy. SELECTED MUSEUMS Musée des Beaux-arts, Liège (Le port d’Anvers, 1906) Musée de Grenoble (Automne à Honfleur; Étude pour la cathédrâle de Rouen; Port d’Anvers; Les eucalyptus; Paysage de Provence (Le Coudon aux environs de Toulon; Tête de femme) Musée Malraux, Le Havre (Avant-port du Havre avec darses et l’île de France sortant; Bassin avec barques de pêche; Le Havre—Bassin du Roy; Trois barques dans un bassin (drawing)) Musée d'Orsay, Paris (Portrait of Karin, 1939) Centre national d’art et de Culture Georges Pompidou, Musée national d’art moderne, (Portrait of Fernand Fleuret, 1907) Musée d’art moderne de la ville de Paris (Paysage; Automne à Honfleur; L’Automne; Le Printemps; Etude pour Travail à l’automne (drawing); Femme debout (drawing)) Musée de l’Annonciade, St. Tropez (Le jardin du cap brun; Les dahlias; nu; Port d’Anvers) Musée des Beaux-arts, Toulon (Nu assis) Musée des Beaux-arts, Bordeaux (Nu assis; Nu couché; St. Mâlo; Sous-bois à Honfleur) Musée d’art moderne, Troyes (Honfleur; Paysage à La Ciotat) Musée de la Charteuse, Douai (Vue de St. Mâlo) Musée des Beaux-arts, Nancy (Paysage de La Ciotat) Musée des Beaux-arts, Valence (Fleurs) Musée des Beaux-arts, Rouen (Jeune femme assise dans un jardin) Musée d’art moderne Richard Anacréon, Granville (À Toulon; Capucines) Musée des Beaux-arts, Nantes (Cour de château à Taurinnes) Musée d’art moderne et contemporaine, Strasbourg (L’entrée des troupes françaises a Strasbourg le 22 novembre 1918) Fondation Bemberg, Toulouse State Hermitage Museum, St. Petersburg (Roofs and Cathedral in Rouen, 1908; Flower (Tulips and Daisies; Autumn Works; Temptation (Adam and Eve); Hill; Still-life with a Statuette of Bouddha) Tate Gallery, London (Woman at a Window (1919); The Castle of Falaise (Evening) (1904)) Courtauld Institute of Art, London (Still-life with Anemones, ca. 1922; Still-life with Peaches and Pears, 1920) New Art Gallery, Walsall, England (Still-life with Fruit) National Museum Wales, Cardiff (La Ciotat) Ashmolean Museum of Art and Archeology, Oxford University, Cambridge Musée du Petit Palais, Genève (Les Baigneuses des Andelys) National Gallery of Denmark (Statens Museum for Kunst), Copenhagen (The Sunken Road in Winter) National Museum of Art, Architecture, and Design, Oslo (Le Travail à l’Automne (1907¬–8)) Christchurch Art Gallery, New Zealand Museo Nacional de Bellas Artes, Buenos Aires Museu de Arte São Paulo Museum of Modern Art, New York (Landscape with Figures) Fogg Art Museum, Harvard University, Cambridge, Mass. (Character (litho.); The Poems of Pierre de Ronsard (litho.)) University of Iowa Museum of Art, Iowa City (Etude; Adam and Eve (litho.); L’Automne) Baltimore Museum of Art (Harbor of Honfleur (1930); Sadie A. May (1937); St. Mâlo (1934); The Lake (Annecy) (1933)) San Francisco Museum of Modern Art (Paysage (Le Bec de l’Aigle, La Ciotat))

Creator:
Achille-Émile Othon Friesz (1879 - 1949, French)
Creation Year:
1926
Dimensions:
Height: 25 in (63.5 cm)Width: 20 in (50.8 cm)Depth: 3 in (7.62 cm)
Medium:
Oil
Movement & Style:
Fauvist
Period:
Early 20th Century
Condition:
Oil on canvas attached to the original four-member strainer. No inpaint. Recently cleaned to restore vibrancy. Signed in black lower right: E. Othon Friesz.
Gallery Location:
Washington, DC
Reference Number:
1stDibs: LU123824783851

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1926

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Signs of Autumn Birds Flying in scenic Fauve Landscape. Frederick Harer Frame, 1930

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