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This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: [No Value], Louise Elizabeth Hughes Title: Chaim Soutine (1893-1943) Receptions, constructions and significance General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Chaim Soutine (1893-1943): Receptions, Constructions and Significance Louise Elizabeth Hughes A dissertation submitted to the University of Bristol in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts. History of Art Department, 2010 Word Count: 76,890 Abstract This thesis aims to examine the work and critical and popular reception of Parisian painter Chaim Soutine (1893-1943) in the contexts of four main readings: Soutine's interrogation of the visual traditions and iconographies of the past; his lifelong interest in the themes, forms and meanings of Christian visual culture; the implications of a series of artist-imposed `frames'in relation to Soutine'smore generalpractice of reframingexisting motifs in his own compositions; and popular receptions of the artist and his work. These areas of focus represent new engagement with Soutine's art and depart from the dominant critical trends at work in Soutinestudies to date. Critics have typically read Soutine's work within biographical, anecdotal or stylistic contexts, writing a highly individual-centred narrative of this artist's practice and oeuvre, which has established Soutine as a particular type of artist. Within that narrative he is cast in an expressionist persona and his work is a direct articulation of emotional intensity, even madness. Framing Soutine's art in this way fails to position it historically, culturally or artistically and also obscures more significant aspectsof his production active throughout his career. The aspectsof Soutine's art forming the focus of this thesis, listed above, run counter to traditional patterns of engagementby focusing on issues less concerned with (but which do not completely do away with) biography. Their study thus offers the opportunity for Soutine'sart-historical repositioning. This task is now considerablyoverdue, a fact especially evident in the perpetuation of established critical trends in the most recent contributions to Soutine studies in 2008. This thesis presents a new view of Chaim Soutine and his art and suggests how he should be positioned in future art history - rather than an acerebral, inexperienced artist, new approaches to his work reveal Soutine as a targeted, purposeful painter, whose practice engages with and challenges some of art history's most enduring concerns. Dedication and Acknowledgments This thesis is dedicated with enduring thanks to my Mother, Clive and Jo, for all their wonderful emotional support and financial help, their intellectual interest and patience. Without them, this thesis would not have been completed. Equally, my supervisor, Dr Mike O'Mahony of the University of Bristol's History of Art Department has offered constant intellectual guidance and moral support; a door in the corridor upon which I could always knock was invaluable. My thanks also to Professor Elizabeth Prettejohn who also provided enduring enthusiasm and support, and steppedin during the final months to give me the push needed to complete. Lydia Edwards, dear friend and constant support, has always been at hand to chat, listen and help - thank you for all your understanding and friendship. Finally, my friends and fellow PhD students, Rachel Flynn, Elisa Sai and Pete Stilton have been lunches wonderful - we have worked together every day and helped each over teas, at and conferences.Thank you all, very much. The author would also like to acknowledge the help and support of the following individuals and / or institutions: Dr Anna Carrdus, who offered so much kindness and showed interest in my work throughout, and who also supported me during research trips in London; Mr Michael Liversidge, whose support, help and advice have been invaluable; the Barnes Foundation, Philadelphia; Jean Branfield, Collections Manager and Archivist at the Roald Dahl Museum and Story Centre (Great Missenden); the Department of Impressionist and Modem Art at Christies, London; Professor Elizabeth Prettejohn and Dr Dorothy Rowe (University of Bristol) for their input into my work during my upgrade; and finally Matt Lodder (AAH) for useful discussions about tattoos. Author's Declaration I declare that the work in this dissertation was carried out in accordancewith the Regulations of the University of Bristol. The work is original, except where indicated by special reference in the text, and no part of the dissertation has been submitted for any other academic award. Any views expressedin the dissertation are those of the author. SIGNED:....! (,. DATE:..ý: ::.ý.:.. ý. ý....... ............. Table of Contents Page Abstract Dedication and Acknowledgements Author's Declaration List of Illustrations I Introduction 1 .......................................................................................................................... Chapter One - "Very strange and crazy, but I like it": Soutine's Critical Reception, a Historiography I Soutine's Biography 19 .......................................................................................................... II Soutine's Style 43 .................................................................................................................. i. Locations 45 ....................................................................................................................... ii. The Early Works (1915-1919) 52 ..................................................................................... iii. The Ceret Period (1919-1922) 57 .................................................................................... iv. The CagnesPeriod (1923-1925) 63 ................................................................................. The Late Works (post-1925) 67 v. ........................................................................................ III Soutine the Art Market 70 and ............................................................................................. i. The Characters Leopold Zborowski 72 a. .................................................................................................. b. Paul Guillaume 75 ........................................................................................................ Marcellin Madeleine Castaing 82 c. and .......................................................................... ii. Exhibitions 83 ....................................................................................................................... iii. Sales 89 ................................................................................................................................ Chapter Two - "He had always liked picture galleries": Soutine and the Art of the Past I Introduction 99 ...................................................................................................................... II Posthumous Critical Approaches to Soutine's Sources i. Monroe Wheeler, 1950 109 .............................................................................................. ii. Clement Greenberg, 1961 111 ........................................................................................ iii. Kenneth Silver, 1998 113 ............................................................................................... III The ParisianAvant-Garde 1918 Role Tradition 119 - 1940and the of ............................. IV Four Case Studies i. The Carcass Series 124 ...................................................................................................... ii. The Rayfish Series 139 ..................................................................................................... iii. The Early Still Lifes Cezanne 146 and ............................................................................ iv. The Siesta Courbet's Les Demoiselles des Bords de la Seine 147 and ........................... V `Rusticating Modern'? 149 the ............................................................................................ Chapter Three - "By God! ": Soutine and Catholicism I Introduction 154 ...................................................................................................................
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