Chaim Soutine. (1893-1943). A Young English Person. 1934. Oil on Canvas.
The portrait for Soutine is a really special kind. It enjoys to represent all that deformed, old, horrible and sick. Even here, where it is about a caricature, one cannot say that the subject is emphasized. But the artist pushed the stopper much further.
He paints the many still life with cocks, chickens, turkeys, and other poultries, hares, rabbits and especially the line in homage to Chardin which he admires. Soutine chooses itself the animals on the stalls, then he leaves rot them before painting, indifferent to the stink. In the same way in homage to its Master Rembrandt it represents several times a skinned Ox. It is made deliver of the butcher a whole ox and sprinkles it fresh blood before painting it. Soutine is obsessed by the decomposition of the flesh which starts at his place the anguish and terror in front of death. He seeks to represent this fright and its expressionism becomes desperate. It is what it is necessary to see in the portraits, the terror of the painter in front of the deformation of the flesh, by the disease the age or alcohol, the stressing of the wrinkles and the defects of the face and the flesh represented as breaking up.
The mark of time on the face of the man who in any event is only of passage.
Its pictorial obsession is certainly traumatic and can be therapeutic.
Curiously several observers will declare about the models of Soutine that they resemble the portraits painted by artist 20 or 30 years later. Once time will have left its print on their faces.
By contemplating certain portrait of Bacon one has well the impression that the model is in full putrefaction, this idea to paint Bacon thus found it at Soutine.
It should be said that the style of the painter, his manner of carving the colours and of mixing them on the painting lends itself well to this type of representation. In the beginning there is certainly the Jewish taboo of the human representation in painting. Soutine told to be beaten by his father when it surprised it, child, drawing. That which has lived most of its life in most extreme misery enjoys to represent the poor wretches without any kindness, quite to the contrary.
The point of view of the spectator is about at the center of the painting.
The model is in the center of the composition but its left shoulder is much lower than its right shoulder. The installation is thus slightly tilted. The painter asked certainly his model to cross the legs. The right knee is above the left, which explains the slope. He also asked him to look towards the line and to make the pout. This installation lends itself to the caricature.
The red jacket of the subject is detached from an orange yellow bottom relatively neutral. The attention of the spectator concentrates on the young girl.
The inclined installation, the pout of the face (stops and eyebrows), the glance directed in the opposite direction of the composition make of this portrait a faithful caricature more than one reflection of the subject.
It is the expression of the face more than its beauty which counts for the painter.
For the jacket the artist uses broad very thick keys.
Contrary for the shirt maker the artist works by small keys, as often in the portraits of Soutine the colours imbricate the ones in the others.
The details of the face are outlined than drawn, with the manner of the impressionists.
Light : The subject is enlightened of face, the light comes from the right-hand side.
Colours: Harmonize between hot colours.
Similar Paintings :
Chaim Soutine. (1893-1943). Forfeiture. 1921.
Chaim Soutine. (1893-1943). Portrait of a Man. (Emile Lejeune). 1922.
Chaim Soutine. (1893-1943). Young woman with the White blouse. 1923.