COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000687
image_record_id
aahi0000687
Image Record ID
false
Work Title (display):
Still Life with Red Wine
Image Title:
full view
Work Dates (display):
1921
Work Dates type:
creation
Work Creator (display):
Amédée Ozenfant (French, 1886-1966)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
French painter, writer and teacher. Born into a bourgeois family, he studied at Dominican colleges, first Saint-Elme d'Arcachon and then Captier in Saint-Sébastien. Following his studies, he returned to his native Saint-Quentin, where he began to paint in watercolours and pastels. In 1904 he enrolled in the drawing course taught by Jules-Alexandre Patrouillard Degrave at the Ecole Municipale de Dessin Quentin Delatour in Saint-Quentin. By 1905 he was producing plein-air paintings in oil. In the same year he travelled to Paris, where he studied the decorative arts, first with the French painter Maurice Verneuil (b 1869) and then with Charles Cottet. After a nearly six-month trip in 1906 to the Netherlands, where he stayed at the artists' colony in Laren, near Amsterdam, Ozenfant settled in Paris. He enrolled in Cottet's painting course and at the Académie de la Palette, where he received instruction from Jacques-Emile Blanche. His fellow students included André Dunoyer de Segonzac, Roger de la Fresnaye and Luc-Albert Moreau. He also attended classes at the Collège de France, where he heard lectures by the mathematician Henri Poincaré (18541912) and by Henri Bergson. From 1910 to 1913 he lived principally in Russia, where he married Zina de Klingberg, a young Russian artist whom he had met in Paris. While in Russia, his design for the body of a Hispano-Suiza car, made in collaboration with his brother Jean Ozenfant, was shown at the 1911 Salon de l'Automobile. He returned to Paris in 1913, and shortly after World War I began he enlisted in the army, but he was rejected for health-related reasons. Instead he worked at the Service de la Propagande in Paris, where he was involved with publications. Ozenfant founded the journal L'Elan in 1915; he produced ten issues from 15 April 1915 to 1 December 1916. The journal, intended to foster communication between avant-garde artists at the front and at home, served as a focus of activity for artists and writers resident or on leave in Paris. The monthly Thursday meetings sponsored by L'Elan were frequented by Picasso, Matisse, Jacques Lipchitz, Guillaume Apollinaire and Max Jacob. Its articles, in particular Ozenfant's 'Notes sur le Cubisme', considered Cubism and its future and encouraged a rappel à l'ordre that became the popular response to Cubism and its perceived excesses after the war. Early in 1918 Ozenfant was introduced to Charles-Edouard Jeanneret (later known as Le Corbusier) by Auguste Perret. By June they began painting together and resolved to produce writings and to exhibit together. In November 1918 they published Après le Cubisme, a book that urged that the classicism in Cubist art be fused with machine-inspired subjects to create a new art dominated by symmetry and proportion. From 22 December 1918 to 11 January 1919 Ozenfant and Jeanneret exhibited their paintings at the Galerie Thomas in Paris, owned by Germaine Bongard, Ozenfant's benefactor and Paul Poiret's sister. Their paintings from 1918 to 1925 predominantly featured motifs that were Cubist in nature, dominated by bottles, cups, dishes and tables that were mass-produced and undistinguished in detail. These objects were presented as polished, unbroken forms, with smooth contours and chiselled profiles. They were painted with even and seemingly anonymous brushwork, with no sense of an artist's individual touch or presence (see Purism, §1). In his Purist paintings Ozenfant preferred a subdued, soft palette, dominated by pastel tones, as in his Still Life with Bottles (1922; Los Angeles, CA, Co. Mus. A.). His earliest Purist paintings, such as Glass, Bottle, Mirror and their Shadows (1918; Basle, Kstmus.), were characterized by isolated objects set within a defined architectural space. Gradually objects were presented in conjunction with other objects; they overlapped and were arranged on shallow foreground planes, as in Accords (see fig.). Whereas architectural structures and bolder colour became increasingly central to Jeanneret's compositions, Ozenfant's paintings emphasized the contours, flatness and varied views of individual objects. In 1920 Ozenfant and Jeanneret became associated with the journal L'Esprit nouveau; they became its directors and owners until 1925, when its twenty-eighth and last issue was published. L'Esprit nouveau became the vehicle through which the pair articulated their theories of Purist form as it applied to painting as well as to architecture. Ozenfant often used pseudonyms, such as Saugnier, de Fayet, Caron, Dr Saint-Quentin or Vauvrecy, to sign journal articles. In the fourth issue, of January 1921, their article 'Le Purisme' set out the principles by which Purist painting was to be governed. By 1923, however, Ozenfant's and Jeanneret's (now Le Corbusier) views diverged. They began to drift apart, although they continued to associate, most notably on Le Corbusier's design for Ozenfant's Paris home and studio of 1923, on the interior of Le Corbusier's Pavillon de l'Esprit Nouveau at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris (1925), at which Ozenfant exhibited paintings, and on a joint book, La Peinture moderne (1925). In 1924 Léger and Ozenfant opened a painting academy, the Académie Moderne, in Léger's studio at 86, Rue Notre-Dame-des-Champs in Montparnasse; the staff included Marie Laurencin and Alexandra Exter. Around 1926 Ozenfant became especially interested in reviving large-scale mural painting. Concurrently, figures returned to his paintings, after a ten-year absence, inspired in part by his viewing of the prehistoric caves in Les Eyzies in the Dordogne region of France. In his influential book Art: Bilan des arts modernes et structure d'un nouvel esprit (1928), he discussed the powerful effect the primitive paintings in these caves had on him and how these helped to formulate his new approach to painting. His paintings from the 1930s up to shortly before his death include scenes of bathers, mothers and children, and couples, as well as landscapes. His most monumental painting of these years, Life, also known as Biological Life (19318; Paris, Mus. N. A. Mod.), is a utopian view of the unity of all biological life, and of the various human races, that represented a response to his first visit to Greece in 1930. He continued to paint large-scale still-life paintings and decorative programmes, for example in his murals for Erich Mendelsohn's villa in Berlin (1931). Ozenfant started his own school, the Académie Ozenfant, in 1932. In the early 1930s he was politically active with the Left in France, and he continued his associations when he travelled to England in 1935. He established his academy in London in 1936 and commuted between London and Paris. In 1938 he was invited to teach at the University of Washington, Seattle, WA; he accepted and travelled to the USA for the first time in that year. He returned to the USA in 1939, remaining there for 16 years as a university professor and as head of his own Ozenfant School of Fine Arts in New York. During World War II he served as a commentator on the French section of Voice of America, working there until 1953, when he was investigated by Senator Joseph McCarthy for his liberal views; he was subsequently dismissed. Although he had become an American citizen in 1944, he was renaturalized in France in 1953. (Grove Art Online Accessed 2007-10-22)
Work Style Period:
Modernist
work_styleperiod
Modernist
Work Style Period
false
Work Style Period:
Cubist
work_styleperiod
Cubist
Work Style Period
false
Work Style Period:
20th century
work_styleperiod
20th century
Work Style Period
false
Work Subject:
wine
subject
wine
Work Subject
false
Work Subject:
glasses (drinking glasses)
subject
glasses (drinking glasses)
Work Subject
false
Work Subject:
bottles
subject
bottles
Work Subject
false
Work Subject:
musical instruments
subject
musical instruments
Work Subject
false
Work Subject:
pitchers (vessels)
subject
pitchers (vessels)
Work Subject
false
Work Subject:
still lifes
subject
still lifes
Work Subject
false
Work Subject:
guitars
subject
guitars
Work Subject
false
Work Worktype:
paintings (visual works)
work_type
paintings (visual works)
Work Worktype
false
Work Category (VRC classification):
paintings
work_category__ucbaahvrc_classification_
paintings
Work Category (VRC classification)
false
Work Material and Technique (display):
paint
Work Measurements (display):
50 cm (H) x 61 cm (W)
Work Location (Repository or Site) name:
Offentliche Kunstsammlung Basel
Work Location (Repository or Site) role:
repository
Work Location (Geographic) name:
Basel, Switzerland
Image Rights (display):
© Ronald Wiedenhoeft. Licensed for educational use via Scholars Resource: Saskia, Ltd.
Image Rights license agreement:
SASKIA, LTD.: WHO CAN USE THIS SOFTWARE: (a) Licensee, including faculty, staff and currently enrolled students may use the Licensed Software to display and or print the corresponding graphic images without limitation for teaching and research purposes at the defined Sites, or at remote locations having electronic access to your Site(s). (b) This license include permission to use the Licensed Software on a multi-user network at the defined Site, and to permit remote access to a computer/server located at your Site. Simultaneous display in multiple locations at or connected to the Site is also permitted. (c) Licensee agrees to employ reasonable security measures designed to limit access to your faculty, staff and currently enrolled students. PROHIBITED USES AND LIMITATIONS: (a) Saskia hereby reserves all rights not expressly granted herein. (b) the License Software may not be used for preparaiton of any publication, scholarly or otherwise; or for any purpose other than teaching or research. Publication of an image from the Licensed Software requires a separate license from Saskia. (c) Licensee agrees not to resell, lease, transfer, sub-license or otherwise distribute a copy of the Licensed Software, or any image taken from the Licensed Software, in whole or in part. (d) Licensee also agrees not to modify, corrupt or alter any digital image graphic content or "digital watermark" or the like in the software provided by Saskia under this Agreement. (e) Licensee agrees not to remove, alter, cover or distort Saskia's copyright notice, trademark, or other proprietary rights notice placed by Saskia in the Licensed Software itself, or in the associated packaging, media or documentation. (f) And Licensee agrees to notify users of the Licensed Software, in writing or by sign-on screen display, of their obligations under this Agreement and solicit their cooperation and compliance with such obligations.
Work Rights (display):
public domain
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see . For specific questions, suggestions, or corrections about the descriptive data for images, contact aahvrc@colorado.edu. Please include the Image Record ID ('aahi' followed by a 7-digit number) for each image in question.