André Lhote (1885-1962)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
André Lhote (1885-1962)

Le jardin

André Lhote (1885-1962)
Le jardin
signed and dated 'A.LHOTE.16.' (lower left)
oil on canvas
32 x 23 1/8 in. (81.2 x 58.7 cm.)
Painted in 1916
Jean Grimar, Brussels, by 1958.
Anonymous sale, Sotheby's, New York, 15 November 1984, lot 348.
Private collection, New York; sale, Christie's, Paris, 23 October 2015, lot 19.
Acquired at the above sale by the present owner.
Paris, Musée National d'Art Moderne, Rétrospective André Lhote, October - December 1958, no. 29.
Albi, Musée Toulouse-Lautrec, André Lhote: peintures, aquarelles, gouaches, dessins, lithographies, June - September 1962, no. 15, p. 21.
Lyon, Musée des Beaux-Arts, Exposition André Lhote, March - April 1966, no. 16.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Lot Essay

This work will be included in the forthcoming André Lhote catalogue raisonné being prepared by Dominique Bermann Martin.

André Lhote’s formal identification with Cubism began in 1911 with his participation in the Salon d’Automne along with other innovative young artists such as Robert Delaunay, Jean Metzinger, and Fernand Léger, and was cemented with his inclusion in the Salon de la Section d’Or. The present work, painted in 1916, strongly reflects Lhote’s goal to connect modern art with the great traditions of French painting. An autodidacte, Lhote expresses in his paintings his innate sense of originality and personal creativity. Initially inspired by the past masters including Da Vinci, Ingres and Delacroix, it was during his first visit to Paris in 1907 that he was to encounter his greatest inspiration, Paul Cézanne, whose revolutionary works had just been unveiled to the general public at the Salon d’automne. In 1911 Lhote became an active member of the Section d’Or, and at their 1912 Salon he presented ten works, equalling the contributions of the founding members Albert Gleizes, Jean Metzinger and Marcel Duchamp.

Contemporary critics, including Guillaume Appolinaire, focused on the residues of classicism still present in Lhote’s work, which they said ruled him out from being classified as a pure cubist – modernism being defined by the wish to create an entirely new aesthetic. Lhote would nevertheless continue to retain elements of representation and classicism in his work, as did other French artists in the movement in contrast to the Spaniards Picasso and Gris, who were committed to scaling the heights of hermetic analytical Cubism. Executed in 1916, Le jardin illustrates the classical decorative quality of Lhote’s own brand of cubism. Around this date, the artist was focusing his research on the importance of local colour and the respective influences which tones could exert in the build-up of recession. Later celebrated also as an art critic and theoretician, Lhote would qualify his own painting as 'ambiant cubism'. The present work undeniably engages the viewer with its enveloping sense of place and atmosphere.

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