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L'Œuvre Cachotteries (Secrets) de l’artiste Jean Béraud est actuellement en vente chez Daphne Alazraki Fine Art.
Trouvez ci-dessous plus d’informations sur l’œuvre, contactez la galerie depuis cette page ou recherchez d’autres œuvres de cet artiste dans le Réseau de galeries artnet
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TITRE:
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Cachotteries (Secrets)
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ANNéE DE RéALISATION:
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1909
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CATéGORIE:
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Paintings
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MATéRIEL:
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Oil on panel
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MARQUES:
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Signed and dated lower left: Jean Bèraud 1909
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TAILLE:
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19.75 x 24 inches (50 x 61 cm.)
Framed: 26.5 x 31.5 inches (67.3 x 80 cm.)
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STYLE:
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Modern
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PRIX*:
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Contact Gallery for Price
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DESCRIPTION:
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Jean Béraud was born in Saint Petersburg. His father (also called Jean) was a sculptor and was likely working on the site of St. Isaac's Cathedral at the time of his son's birth. Béraud's mother was one Geneviève Eugénie Jacquin; following the death of Béraud's father, the family moved to Paris. Béraud was in the process of being educated as a lawyer until the occupation of Paris during the Franco-Prussian war in 1870.
Béraud became a student of Léon Bonnat, and exhibited his paintings at the Salon for the first time in 1872. He began his career as a portrait painter but his focus soon shifted to daily life in the city of Paris. Working during the Belle Epoque, Paris had become a rich display of people gathering on the boulevards and at cafes, or strolling through the parks. Béraud, whose entire career was devoted to the realistic depiction of life in the French capital, did not shirk from painting the less than savory aspects of Parisian life, even working from a taxicab to capture the activity on the street. He certainly frequented the same cafés and other, perhaps less reputable establishments as his friends Manet, Degas and Toulouse-Lautrec. He painted many scenes of Parisian daily life during the Belle Époque in a style that stands somewhere between the academic art of the Salon and that of the Impressionists.
Béraud's paintings often included truth-based humour and mockery of late 19th century Parisian life, along with frequent appearances of biblical characters in then contemporary situations. Paintings such as Mary Magdalene in the House of the Pharisees aroused controversy when exhibited, because of these themes.
Towards the end of the 19th century, Béraud dedicated less time to his own painting but worked on numerous exhibition committees. Though he exhibited numerous times at the Salon in Paris, Béraud and several other artists formed a rival organization called the Societie National de Beaux-Arts which held their own exhibitions beginning in 1890.
Béraud never married and had no children. He died in Paris on October 4, 1935, and is buried in Montparnasse Cemetery beside his mother.
Cachotteries (Secrets) is a wonderful example of Béraud's oeuvre. Here, the artist, in typical style, depicts a turn of the century Parisian café scene. At a small table, two men and a woman sit with glasses before them full of sickly green absinthe. Over the wooden and glass divider behind them, the viewer can spy more glasses of liquor stacked up behind a bar. One man, cigarette in hand, leans conspiratorially toward his compatriot, who cups a mouth to his hand to keep outsiders from overhearing their discussion. This includes the woman at their table, who glances at them suspiciously, trying to parse the meaning of their secretive conversation. Perhaps she is one of their wives, or perhaps she is a woman of ill repute, as drinking absinthe alone with two men at this time does not bespeak the most proper deportment. Béraud uses a dark, rich palate here that makes certain aspects stand out, the pale green absinthe, and the bright blue bottle in the center of the table. The style walks his usual line between Academic and Impressionist. Though the rich tones and skillful paint application make this piece visually stunning, the scene itself creates a sense of disquiet that makes this a truly unique work.
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PROVENANCE:
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Galerie Bernheim-Jeune, Paris
Sale, Drouot, Paris, April 24, 1913, lot 4 as L'Heure de l'Absinthe
Private collection, Frankfurt, prior to WWII
Private collection, New York, by descent from the above
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PUBLICATIONS:
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Charles Dauzats, “M. Fallieres au Grand Palais,” Le Figaro, April 14, 1909, p. 2
R.M. Ferry, “Le Salon de las Sociètè Nationale,” L’Eclaire, April 14, 1909, p. 2
Henri Fristch-Estrangin, “Painting at the Salon of the Sociètè Nationale Des Beaux-Arts,” The New York Herald (Edition Europèene), April 14, 1909, p. 6
Furetieres, “Les Salons de 1909. La Sociètè Nationale,” Le Soleil, April 14, 1909, p. 2
L. Fauxcelles, “Le Salon de la Sociètè Nationale au Grand Palas,” Gil Blas, April 14, 1909, p.1
H, Ayraud Degeorge, “Les Salons de 1909. Sociètè Nationale des Beaux-Arts,” Le XIXe Siecle, April 15, 1909, p. 3
Tout-Paris, “Bloc-Notes Parisien. Vernissage,” Le Gaulois, April 15, 1909, p. 1
“Sociètè Nationale des Beaux Arts,” L’Illustration, May 1, 1909, p. 307, illustrated
J.P. Crespelle, Les Maótres de la Belle Epoque, Paris, 1966, p. 11, fig. 9, illustrated
Offenstadt, Patrick, Jean Bèraud – La Belle Epique – Une Epoque Rivèe: Catalogue Raisonnè, p. 220 – 1, no. 273, illustrated, Colgone: 1999.
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HISTOIRE DE L’EXPOSITION:
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Paris, Salon de 1909, Grand Palais, no. 73, illustrated p. 177 (as Au Bar)
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