Jeune femme endormie

細節

Tsuguharu Foujita (1886-1968)
Jeune femme endormie
signed and dated 'Foujita 1926' and signed again in Japanese (lower right); signed, dated and inscribed 'Jeune femme endormie Foujita 1926' and signed again in Japanese (on the stretcher)
oil on canvas
23 5/8 x 28½ in. (60 x 72.5 cm.)
Painted in 1926

來源

P.A. Regnault, Laren; Paul Brandt, Amsterdam, 4-6 November 1958, deuxième partie, lot 478 (to Dreesmann).
Dr Anton C.R. Dreesmann (inventory no. C-4).

出版

J.P. Crespelle, Montparnasse vivant, p. 162 (illustrated).
P. Morand, Foujita, Paris, 1928 (illustrated pl. XX).
Kiki souvenirs, Paris, 1929, p. 141.
S. & D. Buisson, Léonard-Tsuguharu Foujita, vol. II, Paris, 2001, no. 26.152 (illustrated p. 227).

注意事項

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拍品專文

The young woman languidly abandoned on the suggestively unmade bed is possibly Madeleine Anspach, called 'Mado', André Derain's lover and the close friend of Foujita's lover Lucie Badou, nicknamed 'Youchi'. With her cropped hair à la garçonne, her svelt body and Garboesque icy charms, Mado epitomised the 'femme de Montparnasse', the queen of the bohemian night-life of Montparnasse in the late 1920s. In the avant-garde circle of actors, artists, poets and muscians, Foujita played the crucial role of the eccentric, exotic outsider. Mannered as the perfect Japanese dandy, elegantly dressed by Paul Pétridès, the artist became one of the protagonists of the 'nuits folles', spent between Le Dôme and La Coupole. He celebrated the splenetic sensuality of these decadent years in his most famous female portraits, which occupied him almost exclusively between 1925 and 1929. He focussed on the representation of the female nude - the thematic pretext to explore new graphic and chromatic balances, new games of lines and colour, whilst conveying all the radical modernity of the new times. Jeune femme endormei, with its grand scale and pure composition, is one of the most ambitious canvasses of Foujita's greatest pictorial season.