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Georges RouaultAutomne (Autumn)c. 1938.
c. 1938.
About the Item
Automne (Autumn). 1938. Aquatint print in colors. Chapon/Rouault 288C. 19 1/2 x 25 1/2 ( sheet 22 5/8 x 30 3/4). Edition 175, #44 Published by Vollard. A rich impression with bright, fresh colors printed on watermarked Montval paper, on the full sheet with deckle edges. Signed in ink, numbered in pencil. Housed in an elegant silk mat and a stunning 30 x 35-inch black and gold frame.
Rouault returned to the theme of Autumn, and used it in a large lithograph and then this large aquatint. It is the most impressive of his secular fine prints and a technical tour-de-force.
Other impressions are in the Metropolitan Museum of Art and the National Gallery of Canada,
Georges Rouault was born in Paris into a poor family. His mother encouraged his love for the arts, and in 1885 the fourteen-year-old Rouault embarked on an apprenticeship as a glass painter and restorer, which lasted until 1890. This early experience as a glass painter has been suggested as a likely source of the heavy black contouring and glowing colors likened to leaded glass, which characterizes Rouault's mature painting style. During his apprenticeship, he also attended evening classes at the School of Fine Arts, and in 1891, he entered the École des Beaux-Arts, the official art school of France. There he studied under Gustave Moreau and became his favorite student. Rouault's earliest works show a symbolism in the use of color that probably reflects Moreau's influence, When Moreau died in 1898, Rouault was nominated as the curator of the Moreau Museum in Paris.
- Creator:Georges Rouault (1871-1958, French)
- Creation Year:c. 1938.
- Dimensions:Height: 37 in (93.98 cm)Width: 32 in (81.28 cm)Depth: 3 in (7.62 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Storrs, CT
- Reference Number:1stDibs: LU335214011662
Georges Rouault
Executed in 1937, Carlotta belongs to a group of portraits of members of society. Unlike Picasso and Toulouse-Lautrec, who portrayed these individuals with pathos, Rouault’s approach was unapologetic and raw. In the present work several layers of pigment can be discerned; the build-up of translucent and opaque layers of paint creates a three-dimensionality that characterizes the artist’s strongest work. Furthermore, the work is highlighted by the deep swaths of black delineating the subject, representing a signature element of Rouault’s portraiture of this period.
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