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Lot 348
  • 348

Maurice Utrillo

Estimate
250,000 - 350,000 USD
bidding is closed

Description

  • Maurice Utrillo
  • NOTRE-DAME DE PARIS
  • Signed Maurice Utrillo V (lower right) and titled (lower left)

  • Oil on canvas
  • 39 1/2 by 32 in.
  • 100.5 by 81.5 cm

Provenance

Pétridès Collection, Paris
Private Collection

Exhibited

Tokyo, Central Museum; Kyoto, Municipal Museum of Art;  and travelling to Fukuoka and Nagoya, Maurice Utrillo, 1967, no. 60, illustrated in the catalogue
Tokyo, Mitsukoshi, and travelling to Osaka, Matsuyama, Takamatsu, Sapporo, Nagoya and Matsue, Suzanne Valadon - Maurice Utrillo, 1972, no. 32
Albi, Musée Toulouse Lautrec, Maurice Utrillo - Suzanne Valadon, 1979, no. 1
Paris, Galerie Paul et Gilbert Pétridès, Maurice Utrillo, V, 1990, illustrated in color in the catalogue p. 69
Tokyo, Daimaru Museum; Kyoto, Daimaru Museum; and travelling to Osaka, Shimonoseki, Ominichi, Maurice Utrillo, 1992, no. 51, illustrated in color in the catalogue p. 78
Fukuyama, Museum of Art; Akita, Municipal Museum of Senshu; and travelling to Yonago, Koriyama, Hokkaido, Inazawa, Kitakyushu, Maurice Utrillo, 1996, no. 26, illustrated in color in the catalogue p. 91
Oita, The Prefectural Art Hall; Kyoto, Eki Kyoto Museum; and travelling to Saga and Chiba, Maurice Utrillo, 1998, no. 51, illustrated in color in the catalogue p. 93
 

Literature

Paul Pétridès, L'oeuvre complet de Maurice Utrillo, P🐲aris, 1962, vol.II, no. 1218, illustrat🥀ed p. 509

Catalogue Note

In 1929, Utrillo produced an entire series of paintings of churches throughout Europe, yet he never strayed far from his true home, Paris. The Cathedral of Notre-Dame de Paris proved to be one of his most favored subject matters, which he first painted in 1909. 

Here, the artist reflects his contemplative state of mind and establishes the massive scale of the monument by contrasting it with a human presence to the painting. In doing so, Utrillo creates a certain quiet spirituality, positioning the people as if waiting to enter the open doors of the cathedral and receive divine protection.  As Maurice de Vlaminck explained, “You must recognize the importance of cathedrals and churches in the oeuvre of Utrillo…Whether he paints the imposing form of a cathedral or the spire of a church in the countryside, he expresses unconsciously the love that man has for his creator” (quoted in Utrillo, (exhibition catalogue), Musée de Lodève, 1997, p. 34)

The present work, compared to the solemn previous renditions painted in somber 🌸colors and thick, hurried brushstrokes, achieves a certain hopefulness by portraying the cathedral under a clear 👍and sunny sky through the use of brighter colors and clean brushstrokes.