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Atelier de l'artiste.
Antoine Salomon, Paris (par descendance).
Collection François, Genève.
E.J. Van Wisselingh & Co., Amsterdam.
Collection De Yong, Amsterdam (par descendance).
Galerie Tarica, Paris (acquis auprès de celle-ci).
Acquis auprès de celle-ci par Yves Saint Laurent et Pierre Bergé, novembre 1983.
A. Salomon et G. Cogeval, Vuillard, le regard innombrable: Catalogue critique des peintures et pastels, Paris, 2003, vol. I, p. 239, no. IV-19 (illustré en couleur).
J. Coignard, "Chez Pierre Bergé et Yves Saint Laurent", in
Connaissance des Arts, no. 634, janvier 2006, p. 46 (illustré en
Berne, Kunsthalle, Edouard Vuillard, Alexander Mülegg, juin-juillet 1946, no. 26.
Bruxelles, Palais des Beaux-Arts, Vuillard (1868-1940), octobre 1946, no. 19 (illustré; titré 'Femmes dans un intérieur').
Stockholm, Galerie d'Art Latin, Vuillard, automne 1948, no. 4 (titré 'Deux femmes dans un intérieur'; daté '1894').
Bâle, Kunsthalle, Edouard Vuillard, Charles Hug, mars-mai 1949, no. 14.
New York, David Findlay Galleries, French Paintings of the XIXth and XXth centuries, novembre-décembre 1956, no. 34 (illustré).
Amsterdam, E.J. van Wisselingh & Co., France en Hollande, mars-avril 1960, no. 45.
Amsterdam, E.J. van Wisselingh & Co, Maîtres Français XIXe et XXe siècles. Tableaux provenant de collections particulières néerlandaises, mai-juin 1962, no. 50 (illustré).
Post Lot Text
'DREAMY MARIE AND AND HER MOTHER'; WITH THE ATELIER STAMP LOWER LEFT; OIL ON CANVAS.
A lover of "small secular rituals"1, as described by Claude Roger-Marx, Edouard Vuillard fed his imagination by attentively observing his family. In Marie rêveuse et sa mere, the artist's subjects are his preferred models, his mother and sister. The three of them had recently moved from their Paris apartment on the rue de Miromesnil to their new home on the rue Saint-Honoré. At this time, Vuillard was travelling in Symbolist literary circles and had just joined the Nabis, formed in 1888 by Maurice Denis and Paul Sérusier. However, like Pierre Bonnard, he preferred subjects taken from everyday life to religious symbolism.
Vuillard's penchant for representing intimate interior scenes, which comprise the majority of his works of the 1890s, was largely born of his admiration for Dutch paintings, in particular for the works of Vermeer.
Marie rêveuse et sa mere depicts the two domestic figures set against the patterned wallpaper of their apartment. Unaware of the presence of the painter, the figures have evolved into puppets or ghost-like shadows. The extremely simplified depiction of their dresses and faces further enhance this impression. In the foreground, Vuillard's mother, appearing in profile, is completely absorbed in her work. Marie appears dreamily, hovering above her mother lost in a reverie of escape from this suffocating interior. Marie's appearance here is similar to that in Le dîner vert (1891; Salomon et Cogeval, no. IV-4), where Vuillard again depicts his sister as being detached from the family's reality.
No doubt influenced by his love of photography, the painter opted for a tightly cropped composition, which further accentuates the feeling of confinement. Vuillard excels as a master of light and perspective. Coming from a single source, the interior lighting openly contrasts with the heavy shadows which fill the room. Rejecting the banality of the world of the family, the Nabi painter succeeds in creating a unique tension in terms of the compositional narrative. By transcending the decorative aspect of his painting in the present work, Vuillard offers another more personal and intimate view of his family incorporating the most poignant aspects of both the Nabis and Symbolist movements.
1 C. Roger-Marx, Vuillard et son temps, Paris, 1946, qoted in J. Salomon, Vuillard, Paris, 1968, p. 98.