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La Gloire
細節
Clovis Trouille (1889-1975)
La Gloire
signé ‘Clovis Trouille’ (en bas à droite); signé et inscrit ‘La gloire Clovis Trouille 57 Avenue Mathurin Moreau Paris 19è’ (au revers)
huile sur toile dans le cadre de l’artiste
Image: 57 x 46 cm.
Cadre de l'artiste: 68 x 57 x 4.5 cm.
Peint en 1937
signed ‘Clovis Trouille’ (lower right); signed and inscribed ‘La gloire Clovis Trouille 57 Avenue Mathurin Moreau Paris 19è’ (on the reverse)
oil on canvas in the artist's frame
Image: 22 3⁄8 x 18 1⁄8 in.
Artist's frame: 26 ¾ x 22 3⁄8 x 1 ¾ in.
Painted in 1937
La Gloire
signé ‘Clovis Trouille’ (en bas à droite); signé et inscrit ‘La gloire Clovis Trouille 57 Avenue Mathurin Moreau Paris 19è’ (au revers)
huile sur toile dans le cadre de l’artiste
Image: 57 x 46 cm.
Cadre de l'artiste: 68 x 57 x 4.5 cm.
Peint en 1937
signed ‘Clovis Trouille’ (lower right); signed and inscribed ‘La gloire Clovis Trouille 57 Avenue Mathurin Moreau Paris 19è’ (on the reverse)
oil on canvas in the artist's frame
Image: 22 3⁄8 x 18 1⁄8 in.
Artist's frame: 26 ¾ x 22 3⁄8 x 1 ¾ in.
Painted in 1937
來源
Atelier de l’artiste.
Puis par succession aux propriétaires actuels.
Puis par succession aux propriétaires actuels.
出版
J.-M. Campagne, Clovis Trouille, Ivry, 1969, p. 25 (illustré, p. 24).
R. Charmet et C. Trouille, Clovis Trouille, Paris, 1972, p. 10 (illustré).
A. Biro et R. Passeron, dir., Dictionnaire général du Surréalisme et de ses environs, Paris, 1982, p. 414 (illustré).
C. Prévost, Parcours à travers l'œuvre de Clovis Trouille, Arles, 2003, p. 122 (illustré en couleurs).
R. Charmet et C. Trouille, Clovis Trouille, Paris, 1972, p. 10 (illustré).
A. Biro et R. Passeron, dir., Dictionnaire général du Surréalisme et de ses environs, Paris, 1982, p. 414 (illustré).
C. Prévost, Parcours à travers l'œuvre de Clovis Trouille, Arles, 2003, p. 122 (illustré en couleurs).
展覽
Paris, Galerie Raymond Cordier, Clovis Trouille, mars 1963, no. 18.
New-York, d'Arcy Galeries, Surrealist intrusion in the Enchanters' Domain, novembre 1960-janvier 1961, no. 143 (illustré, p. 120).
L'Isle-Adam, Musée d’Art et d’Histoire Louis-Senlecq; Charleville-Mézières, Musée Arthur-Rimbaud et Laval, Musée du Vieux-Château, Voyous, voyants, voyeurs, Autour de Clovis Trouille, novembre 2009-janvier 2011, p. 36, no. 28 (illustré en couleurs, p. 37).
New-York, d'Arcy Galeries, Surrealist intrusion in the Enchanters' Domain, novembre 1960-janvier 1961, no. 143 (illustré, p. 120).
L'Isle-Adam, Musée d’Art et d’Histoire Louis-Senlecq; Charleville-Mézières, Musée Arthur-Rimbaud et Laval, Musée du Vieux-Château, Voyous, voyants, voyeurs, Autour de Clovis Trouille, novembre 2009-janvier 2011, p. 36, no. 28 (illustré en couleurs, p. 37).
更多詳情
« Mais comme la gloire me laisse tristement rêveur, je n’ai pas d’idée pour un titre, car je connais, hélas, ce que vaut la gloire militaire, 7 ans soldat et arrière-petit-fils d’un officier des grenadiers de la garde qui passa sa vie en guerres napoléoniennes. Il y a aussi des gloires déboulonnées ou provisoires, genre Messonnier ou Staline. Il y a les fausses gloires, celles des poulains de marchands de tableaux. Ces marchands sont de vraies machines à gloire. (…) Il y a des gloires dont il ne reste rien : Phidias et ses chefs-d’œuvre inconnus. Par contre, j’ai vu 100 toiles d’un peintre espagnol, notoire et encore vivant, accrochées en permanence au Musée d’Antibes, comme chez lui, stupéfiant, ce culot. Il y a des gloires qui s’achètent. Ceux qui se paient de somptueuses galeries après 3 mois d’exercice. Il y a des gloires autofinancées par ces vaniteux espagnols, ombres de la pastille, conquistadores qui font publier sur eux (en France bien entendu) dix livres par an, après une publicité tapageuse. Il y en a un qui, après avoir plagié les meilleurs peintres, antidate ses toiles ses toiles, de façon à ce que les plagiés aient l’air d’être ses plagiaires. Faut-il être ou paraître ? Tout bonheur que la main n’atteint pas n’est qu’un rêve, a dit le philosophe du passé. (…) La gloire est-elle posthume ? A-t-elle besoin d’un recul. En cette bousculade d’arrivistes exhibitionnistes, il n’y a qu’a « Bien faire et laisser braire » car tous ces préfaciers n’écrivent que des foutaises. Car il n’y a que les bons peintres qui peuvent juger sainement de la peinture. »
‘But as glory leaves me sadly a dreamer, I have no idea for a title, because I know, alas, what military glory is worth : 7 years a soldier and great-grandson of an officer from the grenadiers regiment who spent his life in the Napoleonic wars. There are also dismantled or temporary glories, such as Messonnier or Stalin. There are false glories, such as those of the foals of art dealers. These dealers are truly machines of fame. (...) There are glories of which there is nothing left: Phidias and his unknown masterpieces. In contrast, I saw 100 paintings by a Spanish painter, well known and still alive, permanently hanging in the Musée d'Antibes, as if in his own home – he really has some nerve, how fascinating ! There are some glories that can be bought. Those who buy themselves sumptuous galleries after 3 months of work. There are glories that are self-financed by these vain Spaniards, shadows of the ‘pastille’, conquistadores who have ten books published about them every year (in France, of course), after a great deal of advertisement. There is one who, after plagiarising the best painters, backdates his canvases so that the plagiarised appear to be his plagiarists. To be or to appear? Any happiness that the hand does not reach is only a dream, said the philosopher of the past (...) Is glory posthumous? Does she need to take a step back. In this hustle and bustle of exhibitionist social climbers, all we have to do is ‘do well and let it bray’, because all these writers of prefaces write nothing but rubbish. Because only good painters can make sound judgements about painting'.
‘But as glory leaves me sadly a dreamer, I have no idea for a title, because I know, alas, what military glory is worth : 7 years a soldier and great-grandson of an officer from the grenadiers regiment who spent his life in the Napoleonic wars. There are also dismantled or temporary glories, such as Messonnier or Stalin. There are false glories, such as those of the foals of art dealers. These dealers are truly machines of fame. (...) There are glories of which there is nothing left: Phidias and his unknown masterpieces. In contrast, I saw 100 paintings by a Spanish painter, well known and still alive, permanently hanging in the Musée d'Antibes, as if in his own home – he really has some nerve, how fascinating ! There are some glories that can be bought. Those who buy themselves sumptuous galleries after 3 months of work. There are glories that are self-financed by these vain Spaniards, shadows of the ‘pastille’, conquistadores who have ten books published about them every year (in France, of course), after a great deal of advertisement. There is one who, after plagiarising the best painters, backdates his canvases so that the plagiarised appear to be his plagiarists. To be or to appear? Any happiness that the hand does not reach is only a dream, said the philosopher of the past (...) Is glory posthumous? Does she need to take a step back. In this hustle and bustle of exhibitionist social climbers, all we have to do is ‘do well and let it bray’, because all these writers of prefaces write nothing but rubbish. Because only good painters can make sound judgements about painting'.
榮譽呈獻
Valérie Didier
Head of Department