c.1935-38 The cactus house - Hommage to Georges Braque
品类
绘画
创作技法
油彩/帆布
作品类型
原作
开立证明书之单位/机构
Maison d-Art
签名
右下图
作品不含裱框面积
53 x 46.5 cm(20.87 x 18.31 in)
开立收据之单位/机构
Maison d-Art
作品现状
优秀
作品描述
Signed in grey on bottom right part undistinctly. Provenance : Art Gallery Vincent Lécuyer in Paris. Franco-British style of post-impressionism adopted during her studies in Paris & London. While living in Europe in 1933-39, Rehfisch had been particularly impressed by Braque “ With his (Braque) feeling of design, his reality. Reality has always appealed to me; I’ve Always hated frills and that sort of thing in life and painting too, I think.” “I’m very delighted to see the way that some of my old students are simplifying their work, getting away from details and frills and so on and getting down to colour and design, just the way Braque did..” (in 1975) In 1933 Alison Rehfisch left for Europe. Believing that an artist should not be influenced, but stimulated, by other artists, Rehfisch drew onBraque for his design and simplified reality. She hated 'frills . . . in life and painting, too'. In 1934 she showed with the Société Nationale des Beaux Arts in Paris.
Alison Baily REHFISCH
(1900-1975)
c.1935-38 The cactus house - Hommage to Georges Braque
Signed in grey on bottom right part undistinctly. Provenance : Art Gallery Vincent Lécuyer in Paris. Franco-British style of post-impressionism adopted during her studies in Paris & London. While living in Europe in 1933-39, Rehfisch had been particularly impressed by Braque “ With his (Braque) feeling of design, his reality. Reality has always appealed to me; I’ve Always hated frills and that sort of thing in life and painting too, I think.” “I’m very delighted to see the way that some of my old students are simplifying their work, getting away from details and frills and so on and getting down to colour and design, just the way Braque did..” (in 1975) In 1933 Alison Rehfisch left for Europe. Believing that an artist should not be influenced, but stimulated, by other artists, Rehfisch drew onBraque for his design and simplified reality. She hated 'frills . . . in life and painting, too'. In 1934 she showed with the Société Nationale des Beaux Arts in Paris.