Félix Del Marle (FRENCH, 1889-1952)
This lot is offered without reserve. Christie’s c… Read more
Félix Del Marle (FRENCH, 1889-1952)


Félix Del Marle (FRENCH, 1889-1952)
signed, dated, inscribed and with artist's label 'Del/Marle/1947/Courbevoie Seine/France' (on the reverse)
oil on plywood
83 x 57 cm.
James Goodman Gallery, New York.
Annette Hadiquet and Dominique Szymusiak, elix del Marle La polychromie dans l'espace 1945-1952, Calais 1996, p. 49, no. 8 (ill.) Willem Kerseboom and Guus Maris, Whispering Abstracts 2, Haarlem 2003 (cover illustration)
Paris, Galerie Drouart, Del Marle - 40 ans d'avant garde. 1912-1952., 15 June-14 July 1989, No. 78.
Le Cateau-Cambrésis, Musée Matisse, Felix Del Marle, 11 May-1 September 1996, No. 49.
Calais, Musée des Beaux-Arts, Felix Del Marle, 22 September- 1 December 1996, No. 49.
Special notice
This lot is offered without reserve. Christie’s charges a premium to the buyer on the Hammer Price of each lot sold at the following rates: 29.75% of the Hammer Price of each lot up to and including €5,000, plus 23.8% of the Hammer Price between €5,001 and €400,000, plus 14.28% of any amount in excess of €400,001. Buyer’s premium is calculated on the basis of each lot individually.

Lot Essay

In 1912, Felix Del Marle went to Paris, where he shared his studio with the futurist Gino Severini and came into contact with other members of the avant garde, such as Apollinaire. He was forced to join the army in 1914, but wounded, he soon put up a resistance against the violence and became a radical anti-militarist. From his hospital bed he began an extensive correspondence with the Futurist Filippo Tommaso Marinetti. The attraction to themes of motion and speed, characteristic for the work of the Futurists, is also seen with Del Marle. In 1922 Del Marle came in contact with Piet Mondriaan and Theo van Doesburg, became enthusiastic by the ideas of De Stijl and founded the magazine "Vouloir". During the 1930's his work was mostly figurative, followed by a period of surrealistic painting around 1940-1942. Between 1945 and 1950, Del Marle returned to abstraction. He wished to remove colour from its traditional role as a subordinate, decorative or applied element in art and architecture. Undoubtly, he perceived art as a social force capable of effecting change. He once remarked: "Art should contribute by the coloration of streets, of cities, to the joy of life - not for an elite - but for man, for all men".

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