195

Maurice Utrillo
(French, 1883-1955)

"Rue a Ivry", 1924

oil on canvas
signed and dated lower right.
Framed.
21" x 27-5/8", framed 30" x 36-1/2"

Provenance: Dr. A. Roudinesco, Paris (by 1962); Parke-Bernet Galleries, Inc., New York, October 10, 1968, lot 57; Christie's, London, 3 July 1979, lot 81; Christie's, New York, November 6, 2008, lot 272.

Literature: Petrides, Paul. L'Oeuvre Complet de Maurice Utrillo, vol. 2. Paris, 1962, vol. II, p. 424, no. 1073 (illustrated, p. 425).

Notes: Utrillo was the ultimate bohemian. He was born in Montmartre out of wedlock to Suzanne Valadon, an acrobat, who turned to modeling for artists after a fall from the trapeze ended her circus career. Valadon achieved much notoriety/infamy as one of the premier models for Renoir, Degas, Puvis de Chavannes, Toulouse-Lautrec and Morisot, as she could not determine if her son was the offspring of the first three aforementioned artists or by a lesser known one named Boissy. When Maurice was eight, Valadon's friend, the Spanish art critic Miguel Utrillo, legally recognized him as his son although few believed him to be. Rumor has it that after Renoir and Degas denied paternity, Utrillo said that he would be happy to put his name to the work of either artist. Valadon studied under Degas and went on to become a talented artist in her own right and ultimate mentor to her son. After the young Utrillo turned to truancy and alcoholism in his teenage years, Valadon encouraged him to take up painting and shared a studio with him. Aside from her training, Utrillo was self-taught. Shy by nature, he preferred to work with pictures and post cards than with models and portraits. He depicted the streets, windmills, and attractions of Montmartre experimenting with Cubism and Post-Impressionist impastos that attracted the attention of art dealers and further popularized the art district. After 1910, Utrillo's work received wide acclaim and was exhibited regularly at the Salon d'Automne and Salon des Independents. By the 1920s, he had a lucrative career on the international market and was awarded the Cross of the Legion of Honor by the French Government in 1928.

Some of Utrillo's most prolific and highly regarded work was produced between these decades; between his white period (1909-1914) - where he depicted walls, roads and other building facades in heavy zinc white impastos that he often mixed with plaster to create thicker textures, and the Cloisonnism period (1914-1925) - where Utrillo depicted, in the style of Bernard and Gaugin, large flat patches of bright color enclosed within black tracery that recalls medieval cloisonne.

"Rue a Ivry", offered here, is a masterpiece that embodies the best of both periods. The textured chalky building side with the street advertisement and wall of white that give rise to a stucco apartment building are characteristic of the white period. The somber and relatively monochromatic buildings and unpaved street are punctuated by the rotund backsides of the pedestrians and by the brilliant orange siding and green shutters lined in black, creating geometric patterns that pictorially collapse the foreground and background while still suggesting depth in space.


  • Condition: **Light surface dirt, toning of varnish layer and brown paper tape along edges. Craquelure pattern visible mid-left (white wall). Relined, edges trimmed and retaining stretcher bars. Signs of inpainting center left (blue wall above door). Carved frame with surface marks, nicks and abrasions, losses along edges, in corners; linen liner discolored.

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