Nature morte au pot à pipe - Impressionist Oil, Still Life by Jean Albert Pougny

View Similar Items

Momalyu Liubov - «Woman’s Nature". Circle Textured Green floral original painting on canvas.

Edward Lis - Antique Polish American Impressionist Flower Still Life Framed Oil Painting

Unknown - Antique American Modernist Pear Still Life Framed Original Fine Oil Painting

Trip Park - Trip Park, "Striper Head", 16x16 Contemporary Jockey Helmet Painting on Canvas

Kathryn Logan Luke - Antique Exhibited American Impressionist 1921 Flower Still Life Oil Painting

May Hohlen - Soft Impressionist Listed Female Midwest Iowa Art Exhibited Still Life Painting

Olha Trikolich - Dance

Joseph Tanous - Mid Century Black Cat and Vase Still Life

Momalyu Liubov - «Floral garden. Pink Orchids with foliage". Original painting on canvas.

Unknown - Antique French Exhibited Signed Still Life Modern Baguette Bread Oil Painting

Linda Clerget - Resonating Within You

Linda Clerget - Fleeting Eternity

Want more images or videos?

Request additional images or videos from the seller

1 of 11

Jean Pougny
Nature morte au pot à pipe - Impressionist Oil, Still Life by Jean Albert Pougny
1942

Name: Nature morte au pot à pipe - Impressionist Oil, Still Life by Jean Albert Pougny
Brand: Jean Pougny
Rating: 5 (150 reviews)

About the Item

A wonderful still life oil on canvas by French painter Jean Albert Pougny depicting a pipe sitting in a pot on a patterned cloth. Signed lower right. Framed dimensions are 10 inches high by 9.5 inches wide. Provenance: Collection Michel Moncey, Paris. Galerie Louis Carré, Paris Further information: Exhibitions: Pougny, Oeuvres récentes, Galerie Louis Carré, Paris, 1943. Bibliography : Herman Berninger, Jean-Albert Cartier, Jean Pougny 1892-1956, Catalogue de l'œuvre, Tome 2 Paris - Côte d'Azur, 1924-1956, Peintures, Tübingen, Éditions Ernst Wasmuth, 1992, n° 701, reproduced p. 184. This work is included in the Pougny archives under number 700-283B. Jean Albert Pougny, whose real name was Ivan Puni, was of Italian descent: his grandfather was the composer César Puni and his father was a violinist. He was attracted to art from an early age, but from 1900 to 1908 was educated in the corps of cadets at St Petersburg, despite having no interest in the army. During 1908-1909 he received an academic education and in 1910 he spent his first period of time in Paris, where he was a student at the Académie Julian and other private academies, and was very impressed by Fauvism and Cubism. In 1912 he travelled to Italy, then returned to St Petersburg and married Xenia Bogouslavskaya. (She survived him by many years, coming almost every day to put flowers on his Russian Orthodox grave in Montparnasse Cemetery.) In 1913-1914 he again went to Paris, returning to St Petersburg after the declaration of war in 1914 and becoming friends there with Maïakovski and Khlebnikov. In 1915 he organised two historic exhibitions in St Petersburg: First Exhibition of Tramway V Futurist Paintings and Last Futurist Exhibition of 0.10 Paintings, in which Cubo-Futurist works were shown for the first time. These two exhibitions echoed in St Petersburg the artistic events of the Jack of Diamonds group in Moscow. It was from these various group artistic events that the more specifically Russian movement of the international avant-garde would detach itself. This movement, called Constructivism, took clearer shape in the Suprematism of Malevich and Tatlin, whose manifesto Pougny signed in 1916. He was mobilised in 1917, and in 1918, after the October Revolution, he was appointed a lecturer at the academy of fine art in Petrograd (St Petersburg). In 1918 he took part in the decoration of the streets of Petrograd for the celebration of the anniversary of the Revolution: 'The streets will be our paintbrushes', declared Mayakovski. Extending his revolutionary ideas into art, he joined the Constructive Realism movement, which was to become Formalism. In 1919 he moved to Vitebsk to teach at the academy set up and directed by Chagall, but when Zhdanov stigmatised the avant-garde movements, he left the USSR for Finland. From 1920 to 1922 he lived in Berlin, becoming part of the Russian colony of artists there and meeting Hans Richter, Eggeling and Van Doesburg. In July 1923 he created the stage scenery and costumes for a Polish play at the Prague Opera. In 1923-1924 he moved to Paris, where he settled permanently, becoming close friends with Fernand Léger, Amédée Ozenfant, Marcoussis and Séverini. In 1940 he moved to Antibes with Robert Delaunay, before returning to Paris in 1942. After his French naturalisation in 1946, he was appointed a Chevalier of the Légion d'Honneur in 1947. From his early days in St Petersburg, Pougny was encouraged by Repine, who painted a Portrait of Tolstoy. At the time of his visit to Paris in 1913-14, he was evolving in a Cubist direction. In Tramway V in 1915, Pougny showed a dozen paintings of Cubist inspiration and a relief, The Card Players. In the same year, he showed at 0.10 the 'alogical' painting (in a description coined by Malevich) The Hairdresser, in which he depicted a collection of unusual objects with a text by Mayakovski: 'Through the window pane sparkles the button that one does not see...' He also showed a board painted green, a premonition of future monochromes, and a still-life consisting of a hammer hanging from a nail on three sheets of paper of different colours. In this painting, in his words, 'the object is free of meaning', and he was foreshadowing Dadaism, although an aesthetic concern with presentation is already present. He also executed totally abstract compositions in Indian ink. After the limited innovations of the two historic exhibitions, in his first series of paintings Pougny, in a Cubist style tending to total Abstraction, integrated groups of letters, or even complete texts (as in the painting BHK of 1916) into geometric coloured plans. Again in 1916, foreshadowing Dadaist approaches, he set a china plate on a board. After the Revolution, radicalising his first innovations, he took more and more liberties with the flatness of the canvas, producing reliefs, 'pictorial sculptures', in polychrome cardboard and wood, incorporating letters, numbers and everyday items as well as magnified objects. In these works, colour played a predominant role, although in general colour was absent from the works of the other artists produced by the Revolution (apart from Malevich), who felt colour stemmed from bourgeois superfluity. After 1918, along with his aesthetic demand for the use of colour, his natural evolution distanced him from the rigours of both revolutionary art and Suprematism. He returned to Cubo-Futurism in 'Realist Formalism', again integrating elements of reality in compositions with a geometric and faintly Suprematist tendency. This phase ended with The Synthetic Musician of 1921, which was close to Synthetic Cubism, apart from the frankly volumetric modulation of the face, and with drawings of urban subjects, in which the narrative and dynamic subject coexists with static geometric organisation: 'basically, Suprematism remains an experimental construction within the painting'. In 1924, after he had finally settled in Paris, he began to use pure pigment to obtain subtle refinements in the expression of colour. At this time he was moving away from his previous abstract work into hybrid compositions of Post-Cubism with Surrealist borrowings. In his last period, starting around 1935, he began to paint interiors, street scenes, harlequins, landscapes and still-lifes. Though these works were of undoubted originality, he was probably influenced by Vuillard. Under the hand of the man who from then on signed himself Jean Pougny, all the intimate fairy-tale themes for which Vuillard used quite large formats were reduced to the most modest scale. There is a great charm in these compositions. He creates atmosphere with subtle combinations of toned-down colours, uses layers of pigments, and prepares his canvases by trampling on them to produce cracking, which he puts across as a nostalgia for the ravages of time. Pougny, who became less innovative after his Suprematist and Constructivist periods, was a painter loved by painters. In his apparent renunciation of the pursuit of modernity, he knew how to preserve and celebrate what was for him the essential thing: the pleasure of painting. Pougny took part in group exhibitions, including: 1912, St Petersburg, Union of Youth; 1914, Paris, Salon des Indépendants; 1915, St Petersburg, Tramway V, with Malevich, Tatlin, Exter and Oudaltsova; 1915-16, 0.10, with Malevich and Tatlin; 1923, Berlin, Great Berlin Art Exhibition, Novembergruppe; 1924, Paris, first Salon des Tuileries, of which he became one of the most faithful participants; 1925, Paris, Salon d'Automne; 1931 Paris, Galerie Katia Granoff and Galerie Paul Rosenberg; 1935, Paris, Galerie Jeanne Castel; 1946, Vienna and Cairo; then France, Moscow and Brussels; 1949, travelling exhibition in several American museums; 1950, Pittsburgh, Carnegie Foundation exhibition; 1951, Menton Biennale; and after his death: 1977, Paris, Historical Aspects of Constructivism and Concrete Art, Musée d'Art Moderne de la Ville de Paris; 1979, Paris Paris-Moscow, Centre Georges Pompidou; 2003, Russian Paris 1910-1960, an exhibition on Russian art and artists in Paris, organised by the Russian Museum of St Petersburg, presented at the Von der Heydt-Museum in Wuppertal, and then at the Musée des Beaux-Arts in Bordeaux. He often exhibited as an individual: 1915, exhibition of drawings, Galerie Dobitchine, Petrograd; 1921, Galerie Der Sturm, Berlin; 1925, an exhibition prefaced by Henri Salmon, Galerie Barbazanges, Paris; 1926, Paris; 1933, an exhibition organised and prefaced by Paul Guillaume, and which confirmed his new style, Galerie Jeanne Castel, Paris; 1943, Galerie Louis Carré, Paris; 1947, after obtaining French nationality, an important exhibition prefaced by Charles Estienne, Galerie de France, Paris; 1949, first exhibition, Knoedler Gallery, New York; 1950, Adams Brothers Gallery in London and Galerie de France in Paris; 1952, Knoedler Gallery, New York; 1950, Adams Brothers Gallery in London and Galerie de France in Paris; 1952, Knoedler Gallery, New York; 1953, 1956, Galerie Coard, Paris. After his death, numerous retrospectives were devoted to his work: 1958, Musée National d'Art Moderne, Paris; and then Albi, St-Étienne and Clermond-Ferrand; 1959, Galerie Coard, Paris; 1960, Musée des Beaux-Arts, Zurich; 1961, Galerie Charpentier, Paris; 1960, Stedelijk Museum, Amsterdam; 1962, Galleria d'Arte Moderna, Turin; 1964, Bibliothèque Nationale, Paris; 1964, Kunsthalle, Baden-Baden; 1966, exhibition of the Donation Pougny, Musée de l'Orangerie des Tuileries, Paris; 1980, Galerie Bellint, Paris; 1989, Musée Bourdelle, Paris; 1997, Galerie Coard, Paris; 2003, Galerie Zlotowski, Paris; 2003, Ivan Puni, Works from the Berninger Collection, Musée Jean Tinguely, Basel. Museum and Gallery Holdings: Albi (Mus. Toulouse-Lautrec): Woman at a Blue Easel (1938-1939); Landscape Algiers (Mus. National des Beaux-Arts): Garden (1949) Amsterdam (Stedelijk Mus.) Berlin (Berlinische Gal.): Synthetic Musician (1921) Cologne: Man with Top Hat Grenoble (Mus. de Grenoble): Interior; Landscape Limoges: Landscape Moscow: Bouquet of Lilac New York (MoMA) Paris (BNF, Prints Collection): donation of linocut works Paris (MAMVP): Chair, Violin and Globe Paris (MNAM-CCI, Pougny Bequest): Self-portrait (1912); Chair and Violin Case (1914-1915, ink); Revolution (1914-1920, colour linograph); Aerial Bridge (1914-1920, colour linograph); Cellist (1914-1920, colour linograph); Vitebsk (1914-1920, colour linograph); Interior (1914-1920, colour linograph); Door (1914-1920, colour linograph); Staircase (1914-1920, colour linograph); Gangway (1914-1920, colour linograph); Entrance to the House (1914-1920, colour linograph); Hairdresser (1915); White Ball (1915); Interior with Mannequin (1915-1916, ink); Violin (1919); Still-life with Ball (1921); Bottle and Glove (1921-1922, red pencil and gouache); Bottle and Alarm Clock (1928-1929); Woman Seated (1939-1940, watercolour and gouache); Chair and Plate of Fruit (1939-1942); Seated Model (1942-1943, pencil, charcoal, ink and oil); Woman with Red Hat (1942-1943, gouache); Chair and Piano (1944); Studio (1944-1945); Mother and Child (1945, charcoal); Figure in an Armchair (1946-1948, pencil); Study of an Interior (c. 1948, pencil); Head of Harlequin (1950); Man Reading in an Interior (1950); Woman Seated near a Painting (1950, pencil); Man Seated (1952, pencil); Seine (1953); Public Garden (1954); Interior with Piano (1955); At the Races (1956) Prague (Národní Muz.): Still-life St Petersburg (Gosudarstvennyj Russkij Muz.): Still-life with Letters (1919) Strasbourg: Still-life

Creator:
Jean Pougny (1894 - 1956, Russian)
Creation Year:
1942
Dimensions:
Height: 8 in (20.32 cm)Width: 7.5 in (19.05 cm)
Medium:
Oil,Canvas
Movement & Style:
Impressionist
Period:
1940-1949
Condition:
Very good original condition.
Gallery Location:
Marlow, GB
Reference Number:
Seller: LFA05161stDibs: LU41535853132

Jean Baptiste-Armand Guillaumin
Les Meules - Impressionist Landscape Oil by Jean Baptiste Armand Guillaumin, c.1885

$181,057

Voyage au Venezuela 1919 - Impressionist Seascape Oil Painting by Emilio Boggio

Located in Marlow, Buckinghamshire

Signed and dated oil on canvas seascape by French impressionist painter Emilio Boggio. The piece in a view of the vast, open ocean - a rich blue sea with white ocean foam leading to ...

Category

1910s Impressionist Landscape Paintings

Materials

Oil, Canvas

Category

1920s Impressionist Still-life Paintings

Materials

Canvas, Oil

Kathryn Logan Luke
Antique Exhibited American Impressionist 1921 Flower Still Life Oil Painting, 1921

$1,196 Sale Price

20% Off

Soft Impressionist Listed Female Midwest Iowa Art Exhibited Still Life Painting

Located in Buffalo, NY

Antique American impressionist signed still life oil painting. Oil on board. Signed. Framed. Image size, 25L x 19H.

Category

1930s Impressionist Still-life Paintings

Materials

Canvas, Oil

May Hohlen
Soft Impressionist Listed Female Midwest Iowa Art Exhibited Still Life Painting, 1930

$2,300 Sale Price

20% Off

More Ways To Browse

Jean Michel Blue Pigment

Playing Card Charm

Cairo Plates

The Green Man Face Sculpture

Chagall Paris Opera House

Monochrome Diamond

Used Pianos St Louis

Concrete Ball

Flower Pot Italian White

Head Violin

French Opera Chair

Man With Violin

Nature morte au pot à pipe - Impressionist Oil, Still Life by Jean Albert Pougny

View Similar Items

Jean Pougny
Nature morte au pot à pipe - Impressionist Oil, Still Life by Jean Albert Pougny
1942

About the Item

More From This Seller

1910s Impressionist Still-life Paintings

Maximilien Luce
Poppies in a Vase - Impressionist Still Life Oil Painting by Maximillien Luce, c.1910

Early 1900s Impressionist Landscape Paintings

Theo van Rysselberghe
Pink Roses - Neo-Impressionist Oil, Flowers in Garden by Theo van Rysselberghe, c.1905

1910s Impressionist Still-life Paintings

Marie Duhem
Pivoines - Impressionist Still Life Oil of Flowers by Marie Duhem, c.1910

1930s Impressionist Landscape Paintings

Otto Eduard Pippel
Haystacks - Chiemsee, Bavaria - Impressionist Landscape Oil - Otto Eduard Pippel, c.1930

1880s Impressionist Landscape Paintings

Jean Baptiste-Armand Guillaumin
Les Meules - Impressionist Landscape Oil by Jean Baptiste Armand Guillaumin, c.1885

1910s Impressionist Landscape Paintings

Emilio Boggio
Voyage au Venezuela 1919 - Impressionist Seascape Oil Painting by Emilio Boggio, 1919

You May Also Like

2010s Impressionist Still-life Paintings

Momalyu Liubov
«Woman’s Nature". Circle Textured Green floral original painting on canvas., 2022

1950s Impressionist Still-life Paintings

Edward Lis
Antique Polish American Impressionist Flower Still Life Framed Oil Painting, 1950

1950s Impressionist Still-life Paintings

Antique American Modernist Pear Still Life Framed Original Fine Oil Painting, 1950

2010s Impressionist Abstract Paintings

Trip Park
Trip Park, "Striper Head", 16x16 Contemporary Jockey Helmet Painting on Canvas, 2021

1920s Impressionist Still-life Paintings

Kathryn Logan Luke
Antique Exhibited American Impressionist 1921 Flower Still Life Oil Painting, 1921

1930s Impressionist Still-life Paintings

May Hohlen
Soft Impressionist Listed Female Midwest Iowa Art Exhibited Still Life Painting, 1930

Recently Viewed

More Ways To Browse

Nature morte au pot à pipe - Impressionist Oil, Still Life by Jean Albert Pougny

View Similar Items

Jean PougnyNature morte au pot à pipe - Impressionist Oil, Still Life by Jean Albert Pougny1942

About the Item

More From This Seller

1910s Impressionist Still-life Paintings

Maximilien LucePoppies in a Vase - Impressionist Still Life Oil Painting by Maximillien Luce, c.1910

Early 1900s Impressionist Landscape Paintings

Theo van RysselberghePink Roses - Neo-Impressionist Oil, Flowers in Garden by Theo van Rysselberghe, c.1905

1910s Impressionist Still-life Paintings

Marie DuhemPivoines - Impressionist Still Life Oil of Flowers by Marie Duhem, c.1910

1930s Impressionist Landscape Paintings

Otto Eduard PippelHaystacks - Chiemsee, Bavaria - Impressionist Landscape Oil - Otto Eduard Pippel, c.1930

1880s Impressionist Landscape Paintings

Jean Baptiste-Armand GuillauminLes Meules - Impressionist Landscape Oil by Jean Baptiste Armand Guillaumin, c.1885

1910s Impressionist Landscape Paintings

Emilio BoggioVoyage au Venezuela 1919 - Impressionist Seascape Oil Painting by Emilio Boggio, 1919

You May Also Like

2010s Impressionist Still-life Paintings

Momalyu Liubov«Woman’s Nature". Circle Textured Green floral original painting on canvas., 2022

1950s Impressionist Still-life Paintings

Edward LisAntique Polish American Impressionist Flower Still Life Framed Oil Painting, 1950

1950s Impressionist Still-life Paintings

Antique American Modernist Pear Still Life Framed Original Fine Oil Painting, 1950

2010s Impressionist Abstract Paintings

Trip ParkTrip Park, "Striper Head", 16x16 Contemporary Jockey Helmet Painting on Canvas, 2021

1920s Impressionist Still-life Paintings

Kathryn Logan LukeAntique Exhibited American Impressionist 1921 Flower Still Life Oil Painting, 1921

1930s Impressionist Still-life Paintings

May HohlenSoft Impressionist Listed Female Midwest Iowa Art Exhibited Still Life Painting, 1930

Recently Viewed

More Ways To Browse

Jean Pougny
Nature morte au pot à pipe - Impressionist Oil, Still Life by Jean Albert Pougny
1942

Maximilien Luce
Poppies in a Vase - Impressionist Still Life Oil Painting by Maximillien Luce, c.1910

Theo van Rysselberghe
Pink Roses - Neo-Impressionist Oil, Flowers in Garden by Theo van Rysselberghe, c.1905

Marie Duhem
Pivoines - Impressionist Still Life Oil of Flowers by Marie Duhem, c.1910

Otto Eduard Pippel
Haystacks - Chiemsee, Bavaria - Impressionist Landscape Oil - Otto Eduard Pippel, c.1930

Jean Baptiste-Armand Guillaumin
Les Meules - Impressionist Landscape Oil by Jean Baptiste Armand Guillaumin, c.1885

Emilio Boggio
Voyage au Venezuela 1919 - Impressionist Seascape Oil Painting by Emilio Boggio, 1919

Momalyu Liubov
«Woman’s Nature". Circle Textured Green floral original painting on canvas., 2022

Edward Lis
Antique Polish American Impressionist Flower Still Life Framed Oil Painting, 1950

Trip Park
Trip Park, "Striper Head", 16x16 Contemporary Jockey Helmet Painting on Canvas, 2021

Kathryn Logan Luke
Antique Exhibited American Impressionist 1921 Flower Still Life Oil Painting, 1921

May Hohlen
Soft Impressionist Listed Female Midwest Iowa Art Exhibited Still Life Painting, 1930