Georges VALMIER (1885-1937) - Lot 160

Lot 160
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Estimation :
80000 - 120000 EUR
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Result : 80 000EUR
Georges VALMIER (1885-1937) - Lot 160
Georges VALMIER (1885-1937) The Village, 1925 Oil on canvas. Signed and dated lower right. 69,5 x 95 cm (Restorations) PROVENANCE: Léonce Rosenberg, Paris; Motte sale (Geneva), 28 June 1968; Laurin sale, Paris, 6 March 1968, n° 177; Briest sale, Paris, June 19, 1990, n° 12 ; Loudmer sale, Paris, June 24, 1992, n° 204. EXHIBITION: Galerie Melki, Paris, 1973, repr. p. 19 of the catalog. BIBLIOGRAPHY: Bulletin de l'Effort Moderne, April 1924, no. 14. R99; Denise Bazetoux, Catalogue raisonné de Georges Valmier, Editions Noème, Paris, 1993. Reproduced under n° 299 p.105. Certificate of Denise Bazetoux dated April 24, 1992. Certificate of the Art Lost Register n° ALR Ref: S00224355 dated October 18, 2022. Georges Valmier joined Cubism in 1911. Trained at the Ecole des Beaux-Arts and influenced by Cézanne, he pursued his quest by schematizing the planes into prismatic facets and simplifying the volumes. In 1913 and 1914, he exhibited at the Salon des Indépendants. Mobilized in 1914 and posted to Toul, where he was a nurse, Valmier met the painter Albert Gleizes and Florent Schmitt. On his return from the war, Léonce Rosenberg, the Cubist dealer, took Valmier under contract. This was the beginning of a faithful friendship, until the artist's death at the premature age of 52. Rosenberg organized a solo exhibition for him in 1921 in his gallery "L'Effort Moderne", whose bulletin published his works. In our work dated 1925, Valmier built a village by superimposing geometric shapes and wavy forms in the background, simulating a cutting and collage of colored papers. Far from the sober hues of the early Cubists, Valmier uses a subtle and warmly colored palette here with soft pastel shades of pink, blue and green. The artist simplifies his composition to the extreme, the first steps towards abstraction. The three characters, barely suggested by a line and a colored shadow, silently animate this village. It is indeed this spirituality in his way of conceiving art, his way of making it and of looking at it that leads him progressively towards a "pure" art.
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