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Maurice AsselinMaurice Asselin (1882-1947) Les Anémones, oil on canvas signedcirca 1930
circa 1930
$2,642.95
£1,981.22
€2,225
CA$3,654.53
A$3,977.53
CHF 2,125.45
MX$48,033.42
NOK 26,711.72
SEK 24,845.01
DKK 16,954.23
About the Item
Maurice Asselin (1882-1947)
Les Anémones, a bouquet of anemones
signed upper right
oil on canvas
38 x 46 cm
Label of the exhibition Maurice Asselin at the Galerie Schmit in february-march 1970 on the stretcher
Framed : 48 x 56 cm
This beautiful painting therefore appeared in the retrospective devoted to Maurice Asselin by the famous Schmit gallery in 1970, it is reproduced in the catalog published on the occasion.(see the photograph in black and white please).
The colors and the fairly ample composition stand out from other bouquets painted by the artist, more often depicted in a vertical format. The quality of light and color are also remarkable.
Maurice Asselin was born on June 24, 1882 in Orléans. He was a student of Fernand Cormon at the École nationale supérieure des Beaux-Arts but he compensated for academic teaching, which he disliked, with in-depth observation of Paul Cézanne and the Impressionists at the Luxembourg Museum and the Louvre.
Soon there were his first participations in Parisian exhibitions, the Salon des Indépendants in 1906 and the Salon d'Automne in 1907 (He became a member of the jury in 1910).
Asselin first met the writer Pierre Mac Orlan in 1910 in Moëlan-sur-Mer, and a long friendship followed.
Mac Orlan writes in his memoirs of the summer activities of Maurice Asselin and his painter friends Ricardo Florès, Émile Jourdan and Jacques Vaillant in Brigneau-en-Moëlan at La Mère Bacon “a small fishing inn perched on a rock, located at the entrance of the pier, which it overlooked".
In 1912, art critic André Salmon described Maurice Asselin as “one of the young painters most likely to succeed.”
That year also saw the first of the artist's many trips to London, with his first solo exhibition in February 1913. Between 1914 and 1916 he was the closest friend of Walter Sickert, for a time sharing the the latter's apartment in Red Lion Square. In the monthly column that Sickert wrote at the time in the Burlington Magazine, in December 1915, he made a comparative study of the paintings of Asselin and Roger Fry, which concluded that Asselin was superior. Each of the two artists painted the portrait of the other; the portrait of Asselin painted in 1915 by Sickert is now part of the collections of the Potteries Museum
Art Gallery in Stoke-on-Trent, while Asselin kept his “Portrait of Walter Sickert” at his home in Montmartre and later in Neuilly- on the Seine .
Asselin also stayed in Ashford in 1915 with another painter friend, Ludovic-Rodo Pissarro.
He was also close to Albert Marquet, their artistic companionship is evident in their way of composing and painting.
Maurice Asselin married Paton on September 17, 1919, a marriage which gave birth to three sons, Bernard in 1922, Jean in 1923 and Georges in 1925, and introduced the theme of motherhood into his work.
He died at his home in Neuilly on September 27, 1947.
“A beautiful work must, by its arrangement, its rhythm, the choice of the elements which compose it, satisfy the refined man, and, by the impression of life it gives off, move the simplest man. » – Maurice Asselin
- Creator:Maurice Asselin (1882 - 1947, French)
- Creation Year:circa 1930
- Dimensions:Height: 14.97 in (38 cm)Width: 18.12 in (46 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:Paris, FR
- Reference Number:Seller: Inv 6451stDibs: LU1112213404802
Maurice Asselin
Maurice Asselin is a painter and engraver, a member of the École de Paris. For the famous art historian, Bernard Dorival, Asselin was with André Dunoyer de Segonzac, Charles Dufresne, Paul-Elie Gernez and Henry de Waroquier, among the painters of the "realistic reaction" which to "idealism and photographic realism" of the academic tradition of the 19th century," prefer the frank realism of the Impressionists and the sincerity with which they questioned the nature. Against the unrealism of cubists, they pose as heirs of the independent masters of the third quarter of the 19th century. And Dorival strongly supports his statement by quoting our artist, "If you like painting, you will not only ask it to be a decoration for the walls of your home but first of all to be food for your life interior," thus professes Asselin who continues, "no brain combination, no theory can give birth to a work of art... Art springs from the marveled love of life."
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