cp soutine ang validé - Pinacothèque de Paris

Chaïm Soutine
Pinacothèque de Paris
October 10, 2007 through January 27, 2008
A central figure in the artworld, the least well-known and the most mysterious in his
own generation of artists, Chaim Soutine was the focus of a major exhibition in Paris
for the first time in 33 years, in the Orangerie.
Soutine arrived in Paris in July 1913 and discovered a world far removed from his
native Russia. He was very soon classified as a Jewish immigrant, as a typical artist
of the Ecole de Paris, with all the prejudices that that entailed. Frequently regarded
as no more than a follower, he was part of the Montparnasse legend thanks to his
friendship with Modigliani, to whom he was extremely close.
It was while studying Soutine’s portrait by Modigliani that Marc Restellini decided to
put on this exhibition. In that sublime portrait, he discovered that the handsome
Italian endowed Soutine, as discreetly as possible, with a religious symbolism by
painting him with his left hand carrying out the Cohen’s benediction, that family of
High priests in the Temple of Jerusalem. This deliberately secretive detail revealed
an out-of-the common personality that might have escaped everyone but which
Modigliani nonetheless wanted to immortalize, as though to confer a mystical
dimension on Soutine.
His exceptional personality led him to develop an artform that was misunderstood for
a long while, marginalized, often linked to the notion of a difficult, unhealthy artist, on
whom all the clichés of the ambient anti-Semitism were heaped, and which turned
him into an outcast from his very first arrival in Paris. Like Modigliani, he had a most
unusual career, wrapped in legends; a doomed artist, he died without having ever
been fully appreciated in his lifetime. Even nowadays the only image left of Soutine is
that of a Jewish immigrant bowed under the weight of all the taboos of an overly
restrictive religion and whose physical appearance lent itself to every kind of anti-
Semitic cliché.
It was high time that a Parisian institution put an end to all these outdated notions
and paid a deserved homage to this artist whom it is essential to rediscover.

This exhibition will show a brilliant artist, an inquisitor of souls and minds, through
approximately 80 paintings, most of which are totally re-discovered works, exhibited
for the very first time. Many canvases were restored for this occasion. The ensemble
comes from the most important private collections as well as from international
museums: French, Japanese, Swiss and American.
Through his use of portraiture, Soutine examined the personalities of his chosen
sitters. He showed up their quintessential characteristics, and drew out of each of
them what no other artist had perceived. He was quite rightly described as an
Expressionist, and was the only one to have represented that movement in France,
whereas it was the very basis of all the developing movements, be it in Germany and
in Austria at the same period. A true visionary, he transcended reality to transform it
into an imaginary representation about a century ahead of his time. On the cusp of
several movements still in their infancy, he based his art on the most classical and
the most illustrious of his fore-runners (Rembrandt, Courbet, Corot, Cézanne….) to
become the major precursor of the greatest contemporary artists from Pollock to De
Kooning. He was a reference for all of the Cobra movement, as well as for Bacon,
whose pictorial powerfulness descends directly from Soutine.
Today the Pinacothèque de Paris wants to throw a new light on the works by this
essential artist from the start of the 20 th century, thanks to loans shown for the first
and, quite probably, the last time.
The very well documented catalogue, will provide us with a closer look at all of the
essential aspects that make up Soutine’s powerfulness and uniqueness: his links to
Judaism, his critical heritage, his triangular relationship with Albert Barnes and Paul
Guillaume which led him to fame and fortune, his artistic characteristics, as well as
his cultural links with the past and the future, his passion for series like that of Monet,
and his powers of anticipation.
These many features will totally renew the look cast upon Chaim Soutine’s body of
work that Jacqueline Munck, Sophie Krebs, Claudine Gramont and Marc Restellini
aim to emphasize.

Provisional list of works
1. La Jeune femme, c 1915
Oil on canvas
73 x 46 cm
Private collection
2. Portrait d’homme, c 1916
Oil on canvas
60,5 x 50 cm
Private collection
3. Autoportrait au rideau, c 1917
Oil on canvas
72,5 x 53,5 cm
Private collection
4. Les Maisons rouges, c 1917
Oil on canvas
54,3 x 65,1 cm
Private collection
5. Les Maisons, c 1917
Oil on canvas
61 x 50 cm
Private collection
6. Nature morte à la table ronde, c 1917
Oil on canvas
61 x 50 cm
Private collection
7. Les Poissons, c 1917
Oil on canvas
45,1 x 64 cm
Private collection
8. L’Escalier rouge à Cagnes, c 1918
Oil on canvas
61,6 x 46,5 cm
Private collection
9. La Route montante, c 1918
Oil on canvas
61,6 x 50,5 cm
Private collection
10. La Cruche aux lilas, c 1918
Oil on canvas
54,9 x 46 cm
The Rose Art Museum of Brandeis
University
11. Les Glaîeuls rouges, c 1919
Oil on canvas
66 x 57,8 cm
Private collection
12. La Folle, c 1919
Oil on canvas
87 x 65,1 cm
Private collection
13. L’Enfant au jouet, 1919
Oil on canvas
81 x 64,5 cm
Stiftung Im Obersteg loan in the
Kunstmuseum Basel, Switzerland
14. La Femme en vert, c 1919
Oil on canvas
73 x 54 cm
Private collection
15. L’Homme au chapeau, c 1919-1920
Oil on canvas
130 x 65,1 cm
Private collection
16. Le Bœuf, c 1920
Oil on canvas
81 x 50 cm
Private collection
17. Paysage montagneux, c 1920
Oil on canvas
85 x 74,8 cm
Private collection
18. Paysage au grand arbre, c 1920
Oil on canvas
73 x 92 cm
Private collection
19. Les Platanes à Céret, c 1920
Oil on canvas
60 x 80 cm
Private collection
20. Le Couvent des Capucins à Céret, c 1920
Oil on canvas
61 x 54,4 cm
Private collection

21. Paysage de Céret, c 1920-1921
Oil on canvas
68,6 x 53,3 cm
Norton Museum of Art,
West Palm Beach, Florida
22. Le Philosophe, c 1921
Oil on canvas
61 x 51,4 cm
Private collection
23. Mistral – Paysage avec figures,
c 1920-1922
Oil on canvas
Private collection
24. Vue de Céret, c 1922
Oil
Private collection, Texas
25. Nature morte au violon, pain et poisson, 1922
Oil on canvas
65 x 54 cm
Sammlung Im Obersteg, loan in the
Kunstmuseum Basel, Switzerland
26. Grotesque, c 1922-1923
Oil on canvas
81 x 45 cm
Musée d ’Art Moderne de la Ville de Paris
27. Les Grands arbres bleus, Céret, c 1922
Oil on canvas
66 x 64 cm
Private collection
28. Paysage du midi, c 1922-1923
Oil on canvas
64,8 x 81,3 cm
Private collection
29. Vue de Cagnes, c 1922-1923
Musée des Beaux Arts de la
Chaux de Fonds, Suisse
30. Le Lièvre pendu, c 1923
Oil on canvas
61 x 37,8 cm
Private collection
31. Le Guéridon aux victuailles, c 1923
Oil on canvas
73 x 60 cm
32. Paysage de Cagnes (la Gaude), c 1923
Oil on canvas
65,4 x 81,6 cm
Colombus Museum of Art,
Ohio : Gift of Howard D. and Babette L.
Sirak, the Donors to the Campaign
for Enduring Excellence,
and the Derby Fund, U.S.A.
33. La Femme en rouge, c 1923-1924
Oil on canvas
92 x 65 cm
Musée d’Art Moderne de la Ville de
Paris
34. Paysage de Cagnes, c 1923 -1924
Oil on canvas
60 x 73 cm
Private collection
35. Paysage à Cagnes, c 1923-1924
Oil on canvas
55,2 x 38,1 cm
Private collection
36. La Montée de Cagnes, c 1923-1924
Oil on canvas
60 x 73 cm
Musée de Bordeaux
37. La Femme à la robe bleue, c 1924
Oil on canvas
81 x 60 cm
Musée d’Art Moderne de la Ville de
Paris
38. Nature morte aux fruits, 1924
Oil on canvas
Private collection
39. Le Poulet au mur de briques, c 1924-1925
Oil on canvas
73 x 60 cm
Private collection
40. L’Enfant de chœur, 1927
Oil on canvas
77,5 x 39 cm
Stiftung Im Obersteg , loan in the
Kunstmuseum Basel, Switzerland
41. Le Garçon d’étage, c 1927-1928
Oil on canvas
54,9 x 38,1 cm

Private collection
42. La Fillette à la robe rose, c 1928
Oil on canvas
92,1 x 60 cm
Private collection
43. La Femme accoudée, c 1929
Oil on canvas
64,1 x 54 cm
Private collection
52. Les Porcs, c 1941-1942
Oil on canvas
45 x 56 cm
Musée d’Art Moderne de la Ville de Paris
53. Maternité, c 1942
Oil on canvas
64,1 x 53,5 cm
Private collection
44. La Jeune fille avec un chien,
maison et contrefort, c 1930
Oil on canvas
70 x 53 cm
Private collection, Monaco
45. La Cuisinière en tablier bleu, c 1930
Oil on canvas
128 x 50,5 cm
Stiftung Im Obersteg, loan in the
Kunstmuseum Basel, Switzerland
46. La Cathédrale de Chartres, 1933
Huile sur panneau
92,5 x 50,5 cm
Private collection
47. La Maison de campagne, c 1934
Oil on canvas
53 x 77 cm
Private collection
48. La Maison à Oisème, c 1934
Oil on canvas
42,9 x 51 cm
Private collection
49. La Terrasse de Varp
Oil on canvas
62 x 76 cm
Private collection
50. La Jeune anglaise en bleue, 1937
Oil on canvas
24,5 x 21 cm
Stiftung Im Obersteg, loan in the
Kunstmuseum Basel, Switzerland
51. Portrait de Charlot, c 1937
Oil on canvas
30 x 25,1 cm
Private collection

Grotesque, c 1922-1923
Oil on canvas
81 x 45 cm
Musée d’Art Moderne de la Ville de Paris
© Musée d'Art Moderne / Roger-Viollet
© ADAGP, Paris 2007
L’Escalier rouge à Cagnes, c 1918
Oil on canvas
61,6 x 46,5 cm
Private collection
© ADAGP, Paris 2007
La Cathédrale de Chartres, 1933
Oil on panel
92,5 x 50,5 cm
Private collection
© ADAGP, Paris 2007
La Folle, c 1919
Oil on canvas
87 x 65,1 cm
Private collection
© ADAGP, Paris 2007
Les Grands arbres bleus, Céret, c 1922
Oil on canvas
66 x 64 cm
Private collection
© ADAGP, Paris 2007

Vue de Cagnes, c 1922-1923
Musée des Beaux Arts de la Chaux de Fonds,
Switzerland
© Musée des Beaux Arts de la Chaux de Fonds
© ADAGP, Paris 2007
Paysage à Cagnes, c 1923-1924
Oil on canvas
55,2 x 38,1 cm
Private collection
© ADAGP, Paris 2007
Le Garçon d'étage, c 1927-1928
Oil on canvas
54,9 x 38,1 cm
Private collection
© ADAGP, Paris 2007
Maternité, c 1942
Oil on canvas
64,1 x 53,5 cm
Private collection
© ADAGP, Paris 2007
Nature morte aux fruits, 1924
Oil on canvas
Private collection
© ADAGP, Paris 2007

Obligatory mention for the press using the visuals in the exhibition:
- The first two reproductions are exempt up to 1/4 page each and only in the context
of promoting the exhibition.
- Above that number and that size, the reproductions must request the authorization
of reproduction from the Press Service of the ADAGP, and are subject to reproduction
rights.
- Every reproduction on the cover must be requested specifically.
- The copyright to be mentioned alongside every reproduction (or as regards the
artistic press in the photographic credits) is: © ADAGP, Paris (2007)
and that is regardless of the image’s provenance or of the work’s place of
conservation
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