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拍品專文
Most of Monticelli’s still life paintings were made between 1875 and 1885, and the patterned blue and white striped tablecloth shown here is also seen in the artist’s Still Life: Fruit and Still Life: Oysters, Fish, and A Vase of Wild Flowers (both in the National Gallery, London), Still Life with Fruit and Wine Jug (Art Institute of Chicago) and Nature morte au pichet blanc (Musée d'Orsay), which further underscores their contemporaneous dating. They also tend to use the same studio props, including the wine glass, pitcher, and knife found in the present work as well. Marc Stammegna believes that this work was the première pensée for the work now in the Musée d'Orsay and remained unsigned because it was retained in the artist's studio.
A highly original painter of portraits, still lifes, and landscapes, Adolphe Monticelli trained in Paris with academic painters, copied works in the Louvre by Giorgione, Rembrandt, and Paolo Veronese, and befriended Eugène Delacroix, with whom he shared an intense fascination of color. The loose brushwork and textured surfaces that characterize Monticelli’s paintings greatly influenced modern artists like Paul Cézanne, Vincent van Gogh, and the Fauves. Van Gogh, who owned six of Monticelli’s paintings, also identified with the myth of the misunderstood artist from Provence that rapidly grew around Monticelli after his death in 1886. Indeed, the artist played a role in Van Gogh’s decision that same year to travel to the South of France, where he hoped to find the source of Monticelli’s light. He hoped that his own paintings—with their brilliant color and thick impasto—might be better understood as a continuation of Monticelli’s late work. Cézanne, who was friends with Monticelli, was similarly an admirer of his use of impasto as well as the directional brushstrokes of his later work. The position of the table in the present work, placed parallel to the picture plane, recalls similar still lifes by Cézanne painted in the late 1880s.
We are grateful to Marc Stammegna for confirming the authenticity of the work and for his assistance with this catalogue entry. This work will be included in his catalogue of Monticelli's still lifes and flower paintings, currently in preparation.
A highly original painter of portraits, still lifes, and landscapes, Adolphe Monticelli trained in Paris with academic painters, copied works in the Louvre by Giorgione, Rembrandt, and Paolo Veronese, and befriended Eugène Delacroix, with whom he shared an intense fascination of color. The loose brushwork and textured surfaces that characterize Monticelli’s paintings greatly influenced modern artists like Paul Cézanne, Vincent van Gogh, and the Fauves. Van Gogh, who owned six of Monticelli’s paintings, also identified with the myth of the misunderstood artist from Provence that rapidly grew around Monticelli after his death in 1886. Indeed, the artist played a role in Van Gogh’s decision that same year to travel to the South of France, where he hoped to find the source of Monticelli’s light. He hoped that his own paintings—with their brilliant color and thick impasto—might be better understood as a continuation of Monticelli’s late work. Cézanne, who was friends with Monticelli, was similarly an admirer of his use of impasto as well as the directional brushstrokes of his later work. The position of the table in the present work, placed parallel to the picture plane, recalls similar still lifes by Cézanne painted in the late 1880s.
We are grateful to Marc Stammegna for confirming the authenticity of the work and for his assistance with this catalogue entry. This work will be included in his catalogue of Monticelli's still lifes and flower paintings, currently in preparation.