- 26
Balthus
Description
- Balthus
- Adolescente aux cheveux roux
- Signed Balthus and dated 47 (lower left)
- Oil on canvas
- 25 5/8 by 31 7/8 in.
- 65 by 81 cm
Provenance
Barbara Skelton, Paris (acquired from the above)
Pierre Matisse Gallery, New York
Henry Sage Goodwin, Connecticut (acquired from the above and sold: Sotheby’s, New York, November 14, 1984, lot 67)
Acquired at the above sale by A. Alfred Taubman
Exhibited
Literature
Virginie Monnier & Jean Clair, Balthus, Catalogue raisonné de l'oeuvre complet, Paris, 1999, no. P 165, illustrated p. 148
Condition
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
As Balthus recalled: “I’ve always had a naïve, natural complicity with young girls…Spiritual risks occur during long posing sessions. Making the spirit surge forth in a sweet and innocent mind, something not yet realized, that dates back to the beginning of time and must be preserved at all costs... There is nothing riskier or more difficult than to render a bright gaze, the barely tactile fuzz of a cheek, the presence of a barely perceptible emotion like a heaviness mixed with lightness on a pair of lips. But the body and facial features were not my only focus. That which lay beneath their bodies and features, in their silence and darkness, was of equal importance” (Balthus, Vanished Splendors, A Memoir, New York, 2001, pp. 65-66).
Balthus stylizes and idealizes the bodies of his young models, frequently returning to motifs that have long enduring significance in Western art. The confident posture of the figure in the present work calls to mind the strong and beautifully delineated standing nudes of Ingres. In his memoirs, the artist wrote the following about his depictions of young women: "There is no more exacting discipline than capturing these variations in faces and poses of my daydreaming young girls. The drawing's caress seeks to rediscover a childlike grace that vanishes so quickly, leaving us with an inconsolable memory. The challenge is to track down the sweetness so that graphite on paper can re-create the fresh oval of a face, a shape close to angels' faces" (ibid., New York, 2002, p. 65).