Superb 1923 FRENCH ART DECO Girl Bust HENRY PARAYRE Stone MONUMENTAL SCULPTURE
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Superb 1923 FRENCH ART DECO Girl Bust HENRY PARAYRE Stone MONUMENTAL SCULPTURE:
$1600.00
Superb 1923 FRENCH ART DECO Young Girl Bust HENRY PARAYRE Stone SCULPTURE
AMAZING PIECE the epitome of early French Art Deco design. An amazing form. 13 inches tall, pieces weighs in almost 25 lbs. Please read bio below from the French website sculpture1940.com/wb/pages/parayre.php If you love Jean Dunand, Le Corbusier, René Lalique, Erté, Émile-Jacques, André Arbus, Ruhlmann, Jean Després or any of the great artists / designers from France in the 1920-40s.
At the time to raise these years mark a turning point in the career of the artist, it should stop somewhat on the character and personality of man. Henry Parayre weak constitution, which earned him to be reformed and escape the slaughter of the First World War. Beret and glasses are part of the character, myopic and bald after a typhoid.
His thoughtless fear of disease has often led to its greatest professors of medicine Toulouse bedside, his friends, for a simple head cold ... Her anxious nature\'s has pre-ket to undertake long trips, he shared his vacation between sea in Valras-Plage and his beloved village of Conques. This is not as far as Parayre, a very open mind, was not interested in the things of his time. Thus, this passion for beautiful cars always buy the latest model. Its rich library sees coexist art books and detective novels! At the end of his life, the Zodiac collection of Romanesque art has held an important place in his readings.
Friendliness and generosity won him very many friends in all circles: artists, academics such as art historian Raymond Rey, doctors and many artisans with whom he liked to talk business. From its very humble family, he will always have great simplicity and great modesty.
Back to that 1922 in many respects decisive for Parayre. He was appointed professor of drawing in primary school Supé higher-Berthelot in Toulouse and in 1923 professor of sculpture in the Industrial Art School class of Fine Arts, which results in his resignation from the Workshop wood. Finally his vocation for teaching led him to the Normal School of teachers in 1931 as assistant professor of drawing.
Artistically, Parayre eventually find its way after eight years of study (1892-1899), eight years of work (1899-1907) and fifteen years of research (1907-1922), an initiation of more than thirty years sculpture during which he will work tirelessly, ie the strength and seriousness of the bases of his art. Curiously, while previously carved solitary way is probably through an encounter with another artist that will flourish. This meeting is that of a man who seems the opposite in life: the painter Marcel-Lenoir.
Indeed, the latter, whimsical and highly original, is dressed as a marginal. He lives with a bullet, fired by his former mistress, seated a few centimeters of the heart (12). The painter is attracted to sculpture and friend Joseph Bernard seems to have influenced his work indirectly with Parayre Youth (fig. 2). The meeting between the two men is decisive and Parayre style is deeply marked: ties will thicken arms, neck also, the attitude is more static. After his tribute to Paul Dubois with Florentine Head, Parayre makes a second homage by running the bust of Marcel-Lenoir (fig. 7).
In 1922, a joint exhibition with two artists is organized in Toulouse, at the Tower of Tournoër, Ozenne street. Marcel-Lenoir presents among others its \"cartons education\" for the coronation of the Virgin as he usually refused to expose. Among the sculptures Parayre figure for the first time Offering (Fig. 1), one of the most famous works of the artist.
This period corresponds to the development and the beginning of the \"big\" sculpture Parayre. His art is stabilizing, although it is not yet concluded. The artist has the opportunity to exhibit in Paris at the Galerie Billiet with Pol Neveux, a member of the Académie Goncourt, through his friend composer Marc Lafargue (13). However, it must acquire, from 1 July 1926.20 shares of interest at the price of 10,000 francs in the company formed by Messrs. Billiet and Worms. By means of this financial support, the sculptor can expose and to sell his works in the gallery with a 30% commission. Stone or bronze statues are sold on average 5,000 francs, 8000 francs for the most important bronzes. Note that when the state buys a work, administrative correspondence often mentions that the price charged by the artist equivalent to just one of the bronze casting. Parayre not seem mercantile and prefers to sell to the state, even to inadequate price, considering the interest to go into public collections. (14)
The friendship between Parayre and Lafargue is important to the art of the sculptor because the composer alongside Aristide Maillol. These relationships influence Parayre who describes his wonder and revelation for him was \"The Mediterranean\" for the first time in Perpignan: \"... I understood why the great works aim to indifference and, beyond the snares of the picturesque , to reach permanent, \"It is from this base that Parayre will build his art and many of his works will later reference to Maillol.
It is interesting to note that the influences that one can guess in some Parayre statues were often made indirectly. This is not the artist who discovers his only reference, but rather a Marcel-Lenoir who introduced her to Bernard, or Marc Lafargue who speaks Maillol, references are found in the two major pieces of its first production, The offering and Youth (fig. 1 and fig. 2).
Its activity becomes very important: whether the number of works exhibited those years (up to seventeen works for the year 1923 (15) or its courses, the amount of work There is huge was quickly spotted by critics who from his early works, is unanimous in favor of the latter artist has no plans so far to \"go up\" to Paris.. instead, he advocates with many of his friends promoting Languedoc art (16)
However, it is present in the capital with its many shipments to Billiet gallery where there is a great success, but also at the Salon des Independants (1922 to 1926) and later in the Autumn Salon (1925 to 1940, which he joined in 1927).
Its main subject is the female nude, male nude remaining very rare. His second favorite topic is the portrait of a taste of course, but also for practical reasons because the portrait is one of the most frequent paid orders. He made portraits of
THE LEADER OF THE SCULPTURE TOULOUSAINE.
In Toulouse, he quickly established as the leader of the sculpture and trains students who will become his assistant in the thirties, such Monin or DULER. He carves the precious wood: mahogany, rosewood or ebony. It reserves the bronze essentially in control, in particular those of the State require. The stone is also used, the Lens, Furnes sandstone, marble or what he appreciates most of all, reuse of a stone of a monument. Thus, he sculpts with the recovered blocks from the cathedral of Toulouse or later of the abbey of Conques. This direct homage to his predecessors medieval amuses much. There is no particular progress of the works, they are sometimes displayed in Toulouse or Paris, without aut9nt for a particular selection for the capital. Like most of his colleagues, some sculptures follow the artist a part of his life and exposed several times, which is revealing the importance they had for him. Thus, the homage to Marcel-Lenoir in 1923 will be exhibited until 1936. Moreover, the same work can be modified both in its dimensions and in its material. Its great success, and The offering is made of wood, bronze, lead and stone. This type of approach is of course linked to purchases to the artist.
His relations in the years 20-30 put him in contact with artists but also with artisans like gilder Courtiade or Albinet photographer. Among the artists he regularly attends its alumni Saint-Saëns and Arbus and they often exhibit together furniture, tapestries and sculptures, figuratively, ant and among the best ambassadors Toulouse to Paris or even abroad (17). Among the painters, besides Marcel-Lenoir, his friends will Desnoyer, Brunette, Cavaillès, Fages, Bouillère and Cadène; sculpture, ancient and Monin Duler students. Then his great friend, Dr. Voivenel, art lover and sportsman who did get Parayre orders in the rugby Environment, including the monument commemorating the victories of the Stade Toulousain in 1924 and Meyssonnié challenge (The pensive victory 1925 ). The Toulouse medical community has many art lovers and patrons; Soula the doctors Voivenel, Audry ... are more than just customers Parayre, some of them have had a friendly relationship with the artist (18).
OWN WAY: 1922-1927.
After the war, Parayre not participating in the vast artistic movement linked to the building of memorials, which does not prevent him to continue working and to find his own style. Capitals meetings take place during those years, first at home to Toulouse and the other in Paris, must for who wants to succeed in his discipline.
Marcel-Lenoir, attending painter many sculptors, has very close relations with Parayre. Joseph Bernard and close follower of a building that Stanislas cubisante sometimes called it Fumet table masonry (20), Marcel-Lenoir Parayre influences especially in the fullness of forms and erasing the expression of the eyes. In the 20s, the painter wrote to the sculptor: \"You carved after the other and drawn from life and your own truth is drawing to sculpture your tomorrow\" (21). Indeed, subsequently, the sculptor will gradually break away from his influence.
Marc Lafargue, Toulouse renowned poet, is also very sensitive to sculpture; he attended Aristide Maillol and will attempt to publicize Parayre, particularly through its relationships Languedoc to Paris in the person of Pol Neveux. The latter wrote to Marc Lafargue is moved by \"Ie sovereign pace and wonderful balance\" sculptures by the artist (22). The link between the \"big Maillol\" and Parayre was established by Lafargue.
One of the first works that reveal the new path taken by the artist and contains the fruits of his art Woman admiring herself in the water. This golden wooden statuette, hesitating between ancient art and naked \"Ianguedocien\" announcement by the fullness of its forms including the years 1922-1927, during which the artist will define his art.
From the first exhibition in Paris at the gallery Billiet, then at the Salon des Independants and the Autumn, sculptures Parayre are well received by the public. Their workmanship is noticed in the Paris critic who sees him as a promising artist.
The Offering (Fig. 1), this female nude wearing two braids and wearing on his chest fruit refers to Pomona, second title given to this statue that will accompany the artist throughout his life. This work can be considered the manifesto of Parayre. It gathers in fact most of the characters that now define his art. First the subject, a female nude model in the artist sculpt almost exclusively, but a naked whose forms are not idealized: strong legs, wide hips, narrow chest and high, thick joints barely leaving the show wrists and ankles, short fingers and thick. A naked corresponding to physical usually attributed to young southern and thus reflects the desire to transcribe a strong regional identity.
The balance and stability will soon become a constant in the works of Parayre without they fall so far in a boring inaction. The offering, like the majority of other works, does not express large movements. In addition, solid shapes, the architecture of the body with its drooping shoulders, wide hips and sturdy legs give it great stability and thus a reassuring balance, filled with tranquility. A gesture, however, bending the right knee, avoids a hieratic attitude.
The lack of details, be it fruit or anatomy of the body, is also a feature of Parayre. It therefore seeks to voluntarily treat the faces of statues superficially in just sketching the face traits, treating the hair so picked up in a bun or sometimes mats. This is not, of course, for lack of technique, the artist is an excellent portraitist. It is the same for the anatomical details of the body that are erased in favor of smooth surfaces in arabesque. With this aspect of the art of Parayre, how not to make the connection with Aristide Maillol who advocated an art without details, considering that they harm the work\'s expression of force.
The parallel between the two artists through this statue is also evident. Indeed, Maillol wrote in 1910 a female nude wearing a fruit in each hand called Pomona. This statue has largely influenced Parayre: head harbor provision of the legs, bare of Mediterranean type. It is also very interesting to read an article Parayre dated May 27, 1931 (23) Aristide Maillol, where Toulouse sculptor, after visiting him, says with admiration his art. In fact, he unwittingly sets his own style through the praise: we find the total balance, fullness of form, great serenity but also love the material and snares of the picturesque. He speaks of Pomona Maillol which he said was a turning point in his art marking \"the return to life and the quiet sound of true sculpture.\"
The same year, the artist exhibits two bronzes, entitled Young Woman bather and surprise. These female nudes have a striking resemblance between them, they give the impression that he is the same person whose single arm movement differs. Head bent forward and to the side, legs together, one arm back on top of the chest, these two statues evoke serenity that recalls the expression of \"Bathers\" by Ingres. That sense of calm is completely contradictory to the title Woman surprise. In general, the choice of title does not seem to have great importance for Parayre, according to rehearsals and changes. name of the same statue.
The body has characteristics identical to that of the Offering: strong legs, broad hips, chest high and especially arms and neck almost cylindrical, erasing the wrists. This work seems inspired by the designs of Marcel-Lenoir, and also, through it, the sculpture of Joseph Bernard as his famous Water Carrier in 1912. The similarities in the production of both artists are numerous. We find in the very Parayre pasted shape of the members, chest and integrated basin to the entire composition and the mass treatment of joints that give the work a continuity and a united whole. The face is often very pure, with almond eyes. \"The elimination is fabulous and yet no detail missing\" (24); this reflection on the art of Bernard could well apply to that Parayre. Another commonality is the importance of the material and its variety, both sculptors disdaining any means and revealing the artist-craftsmen.
These sculptures were the first purchases of works of Parayre by the state, due probably to their presence in a Paris gallery.
Woman column, a work relatively misunderstood by critics, yet shows the gropings of the artist. Designed in 1922 and exhibited in Paris in 1923, she resumed the old theme of the woman whose body is compared to the ancient column. This nude is depicted in a hieratic attitude much more than usual; Indeed, despite the movement of arms, legs are encased in a square base with several steps. Head bent arms arranged in a cross, this figure appears to be a very advanced geometric research by lack of detail may fall into the trap of stylization.
In the same vein as the previous two works and close again to Joseph Bernard, Parayre exhibited at Billiet Youth in 1924 (Fig. 2). This statue belongs with the Offering, the great success of his early career. Again, the modeling gives it a footprint attitude of calm and serenity, with this headlong suggesting the awakening of the young girl.
In 1925 he runs for a rugby trophy commissioned by his friend Voivenel a sculpture named Victory pensive. This is a winged female nudes presented in a similar manner to previous works, static and very serious allegory for a sport like rugby. In fact, this award dedicated to the memory of the international Toulouse Meysonnié death on the battlefield, adopts the image of a woman shown in a meditative attitude. The memory of a famous man raised by a female figure is often taken by the artist for other memorials.
Also in 1925, Parayre runs to the toilet Woman and Woman sitting, ebony and stone statuettes. Besides the main characters of style Parayre, we find it an expensive process to the artist, already used in 1911 in the animal series, the opposition of smooth parts and those with rough surfaces. The nude has a polished patterned, partnering well with the ebony; conversely, the seat and drape are treated with broad gouges, giving them a jagged contrast to the bare and puts it in value.
The same method has been used by the artist for the realization of a nude ebony named Dryad. The back of the statue, cut the legs, shows traces of tools evoking the rough appearance of the tree trunk. In contrast, the body bent arabesque is handled very smoothly.
In 1927, Henry realizes Parayre nymph fleeing, bare wood where we find the features of previous creations, with in particular a hair gathered into a bun. The modeling on the other hand becomes more fluid, wrists and ankles are refined, the attitude is less static. This work reflects the evolution of the artist who will in the following years assert his art and customize it again.
The second major axis of the sculpture of the portrait Parayre is always present in his work. (Fig. 7) that of Marcel-Lenoir in 1923 is a tribute to his friend, he made the bust in a style that shows the painter. The similarity is evident when comparing the sculpture with many self-portraits executed by Marcel-Lenoir. This work is exhibited until 1936, which shows its importance in the eyes of Parayre. Subsequently, portraiture remains in the production of the artist: he sculpts his entourage, his family and friends, he also executes commands (Fig. 6).
Parayre began early in this genre and has gradually gained mastery. A picture of Charles Despiau, it gives off a pure aspect of the mass due to the lack of frills. Thus it is never of clothing details, the hair is treated uncluttered, often female hairstyle translated by the sheer volume of a bun. So it is a bias for simplicity, skinning, which tends towards a synthetic interior construction, to listen to the inner life of the model. This image is summarized in the multitude of different expressions can produce a face to retain only the most characteristic aspects of the character.
Some portraits evoke those of Paul Belmondo who practices a similar approach to that of Parayre and that of Mr. Fabre to framing and well marked with \"skin\" consists of crushed material pellets and smoothed.
his sponsors, but also his friends and family.
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Thank />On Jun-26-16 at 16:39:20 PDT, seller added the following information:
FOR THOSE INTERESTED IN THE WORK OF Henry Parayre check out the books below. Thanks
Henry PARAYRE
1979-1970
Laurent FAU
(Petit-fils de l\'artiste)
192 pages
29x25 cm
Éditions Chemins d\'encre.
Henry PARAYRE
par Paul Fierens
LESÉCRIVAINS RÉUNIS
1928
On Jun-27-16 at 07:49:17 PDT, seller added the following information:Here are some additional images
Superb 1923 FRENCH ART DECO Girl Bust HENRY PARAYRE Stone MONUMENTAL SCULPTURE:
$1600.00