NO ROTTING FLESH

Still life with herrings 1916
No, no, I will not be showing you Carcasses of Beef, or game for that matter....this was Laurent’s introduction to Chaïm Soutine (1893-1943) and I admit that the painter has the reputation of distorting his subjects or objects in a rather perverse way - probably to shock the viewer....Consequently if Soutine comes up in the conversation, I have always found that there is a slight disgust on the person’s face in front of me. I can’t say I like these pieces of meat which have also be drenched with real blood and that Soutine studied them day by day and was fascinated by the rotting flesh. Rembrandt did it and that is where Soutine found his inspiration. I do like his still life - Herrings - I think those fish are swimming toward me.....

Seeing a painter that one knows well with someone who doesn’t know him at all is a discovery for me. Many of the landscapes we enjoyed together. There is a touch of Munch and trees occupy a fundamental place in the painting. Most of these paintings were done in the South of France. There was one we both enjoyed immensely, but it’s not in the brochure nor could I find it on Internet. Beautiful blues and swaying the wind. Laurent was right. It had it’s place on my wall - for a couple of million dollars or more.
Arbre couchée 19224 (detail)

The large blue tree -1940


I enjoy his portraits and figures and when we approached them, Laurent said «but that’s the Duke of Edinborough (with a chuckle) and I added «and that is Di»....the faces are distorted and not always happy, especially the bride to be or the little girl but I would like to think that the  pastry baker came up with some lovely sweets despite his sad face...





Engaged  1923
The waiter 1922-28
Man's portrait 1922 but not the Duke
Young English lass 1934 - but not Diana

Girl with doll


The baker lad 1922-23
Those of us who visit the Orangerie know many of Soutine’s paintings. There have been other exhibitions both in th Orsay or at the Pinocotheque, combined with other painters. I think what is true when you see a smal retrospective of his work and see him alone, is that there is a sensitivity, a humour and emotion in his work. If you are able to dissociate his painting from hung meat or game, then I think, like me, you will enjoy his colour and the way he goes into detail.

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