Chaim Soutine. (1893-1943). The Gaude and the Baous. (Street at Cagnes.) 1922 – 1923. Oil on Canvas. 60 x 73 cm.
Often classified among the painters of the School of Paris, which appoints the foreign artists installed with Montparnasse in the Twenties : Chagall, Kisling, Lipchitz, Modigliani, Pascin, Zadkine…, but which is not a movement, Soutine are not a very conventional artist.
He admires Raphael, Greco, Rembrandt, Chardin, Goya, Ingres, Corot, Courbet and he is inspired some. One sees it dancing frantically in front of skinned ox of Rembrandt in the Louvre museum.
Frenzy… it is well a frantic painting which that proposes to us which refused that one looks at it painting. In which state second, in which fright, which frenzy was it then? Soutine is plunged in the matter and paints even with the fingers several layers, it carves painting more than it does not paint and does not make preparatory drawings. Work takes birth on the painting with blow of thick keys, sharp, jerked, certainly with an insane rhythm. Soutine takes the colours of impressionism, the manner of Van Gogh and puts the whole moving without it being known if it is a mystical painting, religious, emotive, sensual but it is qualified the missing link between Van Gogh and Cezanne and the abstract or lyric expressionism, the Action Painting of Pollock.
Soutine contributed certainly to release the gesture of the painters, it did not invent the dripping, but it launched the colour on the painting and threw its brushes with ground.
It also inspired Francis Bacon in the destruction of the forms and the distortion of the bodies and for this a little morbid taste for the decomposition of the flesh in dead natures but also in the portraits. Soutine is not a conventional painter, the missing link is a painter reached of a grave disease, the frenzy of painting… .
The Artist shows only one any small portion of the sky in top on the right.
The point of view of the spectator is about at the center of the painting.
The subject of work, a district of the town of Cagnes sur Mer, is completely included in a sphere, which still amplifies the effect of movement and rotation that the composition inspires.
The lower left point of naturalness interest is on the face of the character.
The superior left point of naturalness interest is in the street, above a leaning palm tree.
The lower right points of naturalness interest is on a female character who engages in the street and whom one would have of the evil to notice without him.
The superior right points of naturalness interest is between the corner of a roof and a chimney.
Clear and dark spaces. Space hot and cold.
According to the nature of spaces the dominant colours change. All that is inside the sphere and of the village east of a yellow and hot tonality.
All that is outside the city is of a green, blue or cold tonality.
Soutine does not use lines vertical or horizontal, all the lines are circular or oblique. All that is represented seems moving towards the line. From which does this movement come? Of a force in nature ? Time which passes ? Of a spiritual energy divine or resulting from the painter ?
This female character leaves to it. It engages in the street. Its silhouette is normal and recognizable.
This male character is already engaged in the street. Its silhouette is deformed as if it were taken in a swirl or a storm.
This house leans so much that beyond it seems that it could crumble.
Light : The light seems to come from in bottom on the right.
Colours: Contrasts between hot and cold colours.
Similar Painting :
Chaim Soutine. (1893-1943). Landscape. (1922-23).
Chaim Soutine. (1893-1943). Landscape at Cagnes. (1923).
Chaim Soutine. (1893-1943). Landscape with Tree at Cagnes. (1925-26).