Bronze Sculpture for Sale
Les deux amies, 1927
Print : lithography · 41 x 56 x 1 cm 16.1 x 22 x 0.4 inch · Ready to hang
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Shipped from: France
Delivery to: France Free delivery
Estimated delivery: Less than one week
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About the artwork
Type
Print : numbered and limited to 100 copies
Condition
Artwork sold in perfect condition, framed, ready to hang
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
lithography on Arches paper
Dimensions ( cm • inch )
41 x 56 x 1 cm 16.1 x 22 x 0.4 inch Height x Width x Depth
Artwork dimensions including frame
58 x 73 x 3 cm 22.8 x 28.7 x 1.2 inch
Sold by
Art gallery
Credentials
Vetted seller since 2014 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
This finesse of execution, Foujita deploys it in a series of nudes representing in turn Kiki de Montparnasse, his companion Youki or Mado Anspach, the mistress of André Derain. Here, Youki is lounging lasciviously, her left hand placed behind her head, while she rests her right hand on Mado Anspach's knee. The two women maintained close ties, frequently organizing balls to bring together the personalities who made up social and artistic Paris during the interwar period.
If Foujita perpetuates a tradition initiated by illustrious predecessors, from Titian to Manet and Toulouse-Lautrec, he renews the genre of the nude by the skill of his fine black line standing out against thick white backgrounds, whose rendering milky is obtained by the use of white lead. With these voluptuous female silhouettes, most often represented in groups, Foujita depicts the complicity of a painter and his muses, establishing a dialogue between gazes and bodies. This rare etching, numbered 73/100 and dated around 1927.
If Foujita perpetuates a tradition initiated by illustrious predecessors, from Titian to Manet and Toulouse-Lautrec, he renews the genre of the nude by the skill of his fine black line standing out against thick white backgrounds, whose rendering milky is obtained by the use of white lead. With these voluptuous female silhouettes, most often represented in groups, Foujita depicts the complicity of a painter and his muses, establishing a dialogue between gazes and bodies. This rare etching, numbered 73/100 and dated around 1927.
Presentation
The Lewis Caroll of painting. This is how Jean Cocteau used to call Master Léonard Foujita Tsuguharu, referring to the naive side of some of his works. He is one of the most famous artists of the Roaring Twenties (1920-1929), both in style and by his sense of fun and his friendships with leading artists of the time, such as Picasso, Derain, Apollinaire, Modigliani, Soutine, Van Dongen, Chagall, Pascin, Zadkine and in general with all the artists who were part of the School of Paris at its beginnings.
He was a master of the brush stroke: influenced by Michelangelo, Poussin and Rodin, Tsuguharu Fujita is successful with his personal style, his shiny white backs that catch the light and the subtle contours in black ink of his subjects. Steeped in European modernity, he will retain a sober and Eastern accuracy, combining "the rigor of Japanese relating to freedom of Matisse," as he said himself. After his baptism, he will prénommer Leonardo, as a reference to Leonardo da Vinci.
Painter and printmaker, Leonard Foujita was also a draftsman, illustrator, sculptor, ceramist, photographer, filmmaker, designer fashion, designer ...
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All our reviews are extracted from Verified Reviews
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