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Georges RouaultLoin du sourire de Reims (Far from the Smile of Rheims)1922
1922
About the Item
Loin du sourire de Reims (Far from the Smile of Rheims)
Aquatint, drypoint, roulette and burnishing over heliogravure, 1922
Signed with the initials in the plate and dated (see photo)
From: Miserere (Have Mercy), 58 plates
Plate 51
Aquatint, drypoint, roulette and burnishing over heliogravure
1922-1927
Edition: 425 on Arches vellum with the Ambrose Vollard watermark
25 Hors commerce portfolios
All published impression are unsigned, as issued
Signed and numbered only on the colophon
Published by Societe d’Editions l’Etoile Filante, Paris, 1948
Printer: Jacquemin, Paris, 1922-1927
Reference: Chapon & Rouault 104
Wofsy 158
Rouault’s Miserere (Mercy) series, first titled Miserere et Guerre (Mercy and War), was commissioned in 1916 by art dealer Ambroise Vollard (1865–1939). Originally planned as a two-volume book comprised of 50 prints each, Miserere was only partially realized — with 58 prints published in 1948. The series illustrates man’s cruelty to man, relates human suffering to the passion of Christ, and speaks to the redemption and salvation that can be achieved through that experience.” Haggerty Museum of Art
‘Rouault began his Miserere series during the somber days of World War I and had finished it by 1927. He first drew the images in India ink and later reproduced them as engravings, reworking the plates over the years—scraping deeper with a file or sanding with emery paper.
He later wrote of this time: “When I was about thirty, I felt a stroke of lightning, or of grace, depending on one’s perspective. The face of the world changed for me. I saw everything that I had seen before, but in a different form and with a different harmony.”
“Rouault was born into a poor family in the Belleville neighborhood of Paris during the Franco-Prussian War at the end of the 19th century, and he lived and worked in the city through both the first and second world wars. Apprenticed at age 14 to a stained-glass restorer working on Saint-Severin Church in Paris, Rouault attended the Ecole des Beaux-Arts alongside Matisse. His mentor there was the Symbolist Gustave Moreau, and the influence of this early master of intuitive self-examination and personal mythmaking never left him. Encouraged by Moreau to look inward at the same time that his day-to-day life was saturated with the suffering of poverty and war, Rouault drew early and often on the subjects he had learned about while working on the stained glass in Parisian cathedrals, especially the Stations of the Cross.” Westmont College
“The series (Miserere) is concerned with three types of humanity: the bourgeoisie, who are depicted as vicious and deluded; the poor and outcast, who are seen as ennobled by suffering; and Jesus Christ, who is the archetype and the analogue of both the artist and his beloved outsiders.”
Westmont College
“The artist has contrived a method that allows black-and-white prints to glow with the inner light of stained glass and ripple with the atmospheric brushstrokes and washes of painting. The style is deliberately simple, but the rigorous logic of its conception and the infinitely patient authority of its execution result in something deep and powerful.” Westmont College
Impressions are in the following public collections:
Detroit Institute of Arts
Carnegie Museum of Art
MOMA
Yale University Art Museum
McNay Art Museum
Toledo Museum of Art
Snite Museum of Art, Notre Dame
Minneapolis Institute of Arts
Westmont College
Haggarty Museum of Art
- Creator:Georges Rouault (1871-1958, French)
- Creation Year:1922
- Dimensions:Height: 20.13 in (51.14 cm)Width: 15.07 in (38.28 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Fairlawn, OH
- Reference Number:Seller: FA120491stDibs: LU14015623182
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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