JACQUES MAJORELLE | La belle Zohra

Sale: Artcurial, Paris, 5 June 2012, lot 19
Purchased at the above sale by the present owner

Félix and Amélie Marcilhac, Jacques Majorelle, Répertoire de l’œuvre peint, Paris, 2017, p. 292, no. 116, catalogued & illustrated

Gouache and charcoal heightened with gold on paper. The artist's sheet has been fully laid on a thick sheet of cardboard, thus preventing inspection of the back. The edges in the upper right corner are somewhat sunned and there are some very small, scattered pin holes, which are barely visible, along the extreme edges. There is one small spot of flaking in the woman's right arm, only visible upon close inspection. Otherwise, this work is in very good condition and ready to hang. Presented glazed, in a dark wooden frame. Colours are brighter that in the catalogue illustration.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Painted in 1955, La belle Zohra is as beguiling as she is alluring. Possibly a local girl encountered during one of Majorelle's many travels around Morocco, she holds a lavish and provocative pose that recalls the curvaceous anatomy of Titian's Venus of Urbino and can also be likened to Modigliani’s sensual nudes. The white linen heightens Zohra's dark-toned skin, whilst the soft pink hair band adds a feminine touch to her voluptuous physicality. Majorelle first set eyes on Morocco in 1917 at the age of thirty-one. Landing at Tangiers, he was immediately captivated by the country's light, atmosphere, topography and people, and would eventually spend the rest of his life there. In 1923 he began work on his villa in Marrakech, built in the Moorish style, and whose landscaped tropical gardens, restored by Yves Saint-Laurent and Pierre Bergé, are now world famous.

Following in the footsteps of the great Orientalist painters, Majorelle introduced a whole new pictorial language to the genre, founded on the latest artistic currents and notably the work of fellow painter Henri Matisse. Adopting a fresh style and painting en plein air, he took a particular interest in the local people, their costumes, and their traditions.