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Grote, omstreeks 1930 door de Vlaamse Expressionist Frans de Geetere
geschilderde Aquarel/Gouache "stilleven van pioenrozen in kan".
Linksonder voluit gesigneerd en te dateren omstreeks 1930. Afmetingen Gouache bedragen 40 x 60 cm. Incl originele lijst zijn de maten 45 x 65 cm. Zowel Gouache als de lijst verkeren in goede conditie.
François
de Geetere was born in Auderghem, a suburb of Brussels, and as a child
moved with his parents to Halle, where he studied art with Constant
Montald. He spent the war years in Utrecht (whether as a deserter or
conscientious objector is unclear), developing a distinctive surrealist
style within a active artistic community which included artists such as
Félicien Rops and René Magritte and a group of enthusiastic gallery
owners and collectors; it was around 1914 that he Flemicised his name to
Frans.
The important Belgian collector P.A. Regnault, famed for
his early championing of painters including Picasso, Braque and Chagall,
encouraged Frans, and bought several of his works. Frans de Geetere, ‘Dream’, 1918
Towards
the end of the war, in 1918, Frans de Geetere was living on a houseboat
at Nieuwersluis south of Amsterdam, and working as a night porter at
the William Arntz psychiatric clinic in Utrecht to make ends meet; he
also met his partner May den Engelsen during this period. The grim
darkness of war and his work with psychiatric patients seemed to
underlie his move away from surreal fantasy to dark etchings; it
probably also explains the couple’s decision to take their floating home
away from wartime Holland and wend their slow way through the Dutch and
French countryside to Paris, along with their art materials and a
printing press to enable them to work on the way, and several cats.
Early in 1920 the Marie-Jeanne arrived in Paris to drop anchor on the
banks of the Seine in central Paris, at the Quai de Conti near the Pont
Neuf, and this was to remain their home for nearly fifty years. The Marie-Jeanne moored at the Quai de Conti, c.1925, with the Pont des arts in the background
Frans
and May quickly became part of a circle of hedonistic bon vivants for
whom free sex, homosexuality, partner-swapping, fancy dress parties and
orgies were an integral part of their world. A symbol of free-floating
morals, conveniently moored at the heart of the world’s cultural
capital, the Marie-Jeanne became a hippy sanctuary long before hippies
were invented. Avant garde artists Tamara de Lempicka and Kees van
Dongen were regular visitors, as were American emigré millionaire and
publisher Harry Crosby and his beautiful and inventive wife Caresse.
During the late 1920s and early 30s Harry and Caresse became intimate
with Frans and May, sharing art, poetry, partners, beds and experiences
with drugs.
But Frans and May also had to live, and to keep food
on the table worked hard on commissions both pedestrian (flowers and
portraits) and experimental. It was in his engravings for books that
Frans found his true métier, and fortunately the market in the mid-1920s
was ripe for his edgy, dark, risqué prints. Commissions starting with
Les amies (a joint project with May) in 1925 and continuing until the
early 1930s kept his creative juices flowing. As well as the books,
Frans produced many individual etchings which were sold to private
collectors and selected Parisian galleries
État
État
Bon
weinig zichtbare onregelmatigheden.
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