Property of a New York Estate
Property of a NEW YORK ESTATE

细节
Property of a NEW YORK ESTATE

CLAUDE MONET (1840-1926)

Portrait de Léon Peltier
signed bottom right 'Claude Monet'--oil on canvas
22 x 14 7/8 in. (56.2 x 37.8 cm.)
Painted in 1879
来源
Léon Peltier, Vétheuil
Nissim de Camondo, Paris
Galerie Durand-Ruel, Paris (1894)
Mrs. Annie Swan Coburn, Chicago (1930)
The Art Institute, Chicago (gift from the above in 1933); sale, Parke-Bernet Galleries, New York, May 4, 1944, lot 45 (illustrated)
Jacques Helft, Paris (circa 1969)
Saint Higgons, Paris; sale, Parke-Bernet Galleries, Inc., New York, Feb. 25, 1970, lot 15
Acquired by the late owner at the above sale
出版
C. Léger, Claude Monet, Paris, 1930 (illustrated, pl. 17)
J.P. Hoschédé, Claude Monet, ce mal connu, Geneva, 1960, vol. I, p. 159 (illustrated)
D. Wildenstein, Monet: impressions, Lausanne, 1967, p. 44
D. Wildenstein, Claude Monet, Biographie et catalogue raisonné, Lausanne, 1974, vol. I (Peintures: 1840-1881), p. 348,
no. 542 (illustrated, p. 349)
展览
Boston, Copley Hall, Loan Collection of Paintings by Claude Monet and Eleven Sculptures by Auguste Rodin, March, 1905, no. 41
New York, Galleries Durand-Ruel, Monet, Jan.-Feb., 1907, no. 8
New York, Galleries Durand-Ruel, Retrospective Claude Monet, Jan., 1927, no. 9

拍品专文

The forceful and poignant Portrait de Léon Peltier, dating from Monet's early years, is an exciting reminder that Monet was not always a painter of shimmering landscapes and water lilies. In fact, he first achieved a measure of local fame while still a teenager with his humorous caricatures.

Léon Peltier (1843-1912), little-known today, was a wealthy painter friend and neighbor of Monet who lived in Vétheuil where Monet settled for a few years. Slightly younger than Monet, Peltier had been a pupil of Bouret and Goeneutte and entered his first work in the Salon of 1880, the year following the completion of this portrait.

Monet has casually posed his subject in typical bohemian artist's working attire, with the sitter's pipe lending a contemplative air. It is deftly painted with all of Monet's characteristic verve, his skill particularly apparent in the way the colorful scarf relieves the austerity of an otherwise formal presentation. According to Blanche Hoschedé, Monet painted this portrait in exchange for a pair of boots.