LEOPOLD SURVAGE (1879-1968) HOUSES, 1919 Oil on... Lot 22

LEOPOLD SURVAGE (1879-1968) HOUSES, 1919 Oil on canvas Signed lower left Oil on canvas; signed lower left 31 X 39 CM - 12 1/4 X 15 3/8 IN. - - Mrs. Anne-Marie Divieto has confirmed the authenticity of this work. It is registered in her archives. - - PROVENANCE Léonce Rosenberg Collection Sale, Loiseau - Schmitz - Digard, 11 December 1994, lot 49 Sale, Cornette de Saint-Cyr, 28 June 2018, lot 32 Sale, Auction Art Rémy Le Fur & Associés, 13 April 2021, lot 126 Acquired at this sale by the current owner - - BIBLIOGRAPHY Fonds Léonce Rosenberg (LROS 46), Galerie l'Effort moderne: albums of reproductions of works by Manuel Rendon, Max Ernst, Henri Matisse, Piet Monndrian, Léopold Survage, Robert Delaunay, Albert Gleizes, Bibliothèque Kandinsky, MNAM/CCI, Centre Pompidou. Silver print of the work with the following mention "Survage, 890" (glued in the bound book) Paul Fierens, Survage : Éditions des quatre chemins, Paris : 1931, reproduced under number 12 - - Léopold Survage, born Sturzwage, began his artistic training in his native country in Moscow where he had a deep admiration for the Impressionist period and especially for the work of Cézanne, which he discovered in the Morozov collections. In 1908 he stayed in Paris, the underlying influence in this painting will quickly disappear to the benefit of a more and more abstract reading of the figures, until reaching the invention of the Colored Rhythms. Confronted with emerging artistic trends such as Fauvism and Cubism, Survage befriended their leaders Pablo Picasso, Juan Gris and Fernand Léger, whose influence can be felt in his work. In the 1910s, Survage experimented with Cubism, one of his major works being The City (1913-1914). The influence of Cubism on Survage was also evident in his use of other mediums, including collage and casein (lots 27 and 28). In the 1920s, his style evolved towards more abstraction, notably with the deconstruction of space and the simultaneous representation of several points of view (lot 25). Between 1925 and 1932, he made several trips to Collioure like other artists before him including Matisse and Derain. In Collioure, he discovered this tender and gentle face of the Mediterranean world. These paintings are mostly painted with precision in watercolor on panels coated with a slightly plastery preparation, view of Port-Vendres (lot 27), the motif is isolated. While other paintings from this period are imbued with a Cézanne heritage (lot 26), a painter he admired early in his career. The works in this section begin in 1919, the year Survage returned to Paris. Leaving behind the pink and orange palette of his earlier years, the artist moved closer to the other Cubists by using duller colors such as black, olive, gray, and brown tones, as in the work presented here, Les Maisons. Through the works presented in this chapter, the evolution of Survage's artistic style is accentuated over time, although he moved away from cubism to other artistic movements such as abstraction. His involvement in this 20th century movement remains major, earning him an important place among the great names of modern art.