拍品專文
In Paris during the spring of 1870, Czanne met Hortense Fiquet, a young model who became his life-long companion. For the first eight years they hid their relationship from Czanne's imperious father, even as Hortense gave birth in 1872 to a son, named Paul after his father. When Czanne's father found out about his son's family he cut his allowance in half, forcing the artist to live at home in Aix while Hortense and young Paul stayed in Marseilles with assistance from Czanne's friend Emile Zola. Czanne and Hortense were finally married in 1886 with the consent of the artist's parents. However, despite the fact that Czanne's father died shortly afterwards, and the artist inherited his house and fortune, they frequently lived apart; he continued to work in Aix while Hortense and their son often stayed in Paris.
As noted above, the dating of this drawing has varied, ranging from around 1880 to 1895. This drawing is related to another three-quarter view, Chappuis no. 520, a later addition to a sheet of female nude studies. Hortense's features as seen in no. 520 are similar to a portrait in oils, Madame Czanne en robe raye (Rewald no. 536) which Venturi dated 1872-1875, and both Vollard and the artist's son dated as 1877. Assessing style and technique Rewald later redated the painting to 1883-1885, and noted that the "two other drawings that seem to show her at about the same time (Chappuis nos. 520 and 736 [the present work]) also belong to the early 1880s." (J. Rewald, op. cit.).
Although the present drawing shows Hortense's head slightly tilted and with a somewhat resigned or weary expression, which may make her appear somewhat older than in the portrait painting, her hair is tucked behind her ear in the same manner as the painting, and the drawing shows a hint of her lace collar which forms an important highlight in the oil portrait. Rewald noted that Hortense had been called "that most constant and long-suffering of models" (ibid). The present drawing is a remarkable study in character and feeling, sketched as if it were a candid snapshot of a passing mood.
As noted above, the dating of this drawing has varied, ranging from around 1880 to 1895. This drawing is related to another three-quarter view, Chappuis no. 520, a later addition to a sheet of female nude studies. Hortense's features as seen in no. 520 are similar to a portrait in oils, Madame Czanne en robe raye (Rewald no. 536) which Venturi dated 1872-1875, and both Vollard and the artist's son dated as 1877. Assessing style and technique Rewald later redated the painting to 1883-1885, and noted that the "two other drawings that seem to show her at about the same time (Chappuis nos. 520 and 736 [the present work]) also belong to the early 1880s." (J. Rewald, op. cit.).
Although the present drawing shows Hortense's head slightly tilted and with a somewhat resigned or weary expression, which may make her appear somewhat older than in the portrait painting, her hair is tucked behind her ear in the same manner as the painting, and the drawing shows a hint of her lace collar which forms an important highlight in the oil portrait. Rewald noted that Hortense had been called "that most constant and long-suffering of models" (ibid). The present drawing is a remarkable study in character and feeling, sketched as if it were a candid snapshot of a passing mood.