LÉONARD TSUGUHARU FOUJITA | Portrait de Jeune Femme aux roses

Collection of the artist
Galerie Petrides, Paris
Acquired direcly from the above by the family of the former owner in the 1960s
Cornette de Saint-Cry, Paris, 5 December 2017, Lot 59
Important Private Asian Collection

The work is overall in good condition, except for some fine hairline cracks near the bottom edge of the canvas. Upon close inspection, there are some minor signs of wear along the extreme edges. Examination under UV light reveals a few minor signs of retouching at the top left and near the centre of the canvas.
"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."

Léonard Tsuguharu Foujita’s first period in Paris (1913-1930) was one indulgent extravaganza fueled by perfume and alcohol. He entered the Parisian art circle as a foreigner, making friends across different parts of Montparnasse, a city with a bustling nightlife. Mesmerized by Parisian women, Foujita was inspired to create a group of milky-white nude paintings, with earned him renown in the art world. In 1930s, Foujita toured South America with a lady companion, and returned to Japan at the eve of World War II. He was subsequently appointed as a military painter in Japan and the subjects of his paintings changed from sensual, alluring women to violent scenes of battle.  He painted the latter as realistic portrayal appealing to the sense of humanity, yet after the war they were condemned as support of militarism. Anguished by the unrelenting criticism, Foujita left his home country feeling deeply misunderstood. He returned to Paris after a 20-year absence and embarked on his second period in Paris (1950-1968). In his 60s, Foujita found himself in a different place emotionally. Nude paintings became increasingly rare, and his once intense and passionate lifestyle had been replaced with peace and quiet. In these later years, the artist turned to certain subjects such as religion and children, finding solace in them as a way to ease the trauma of war. Portrait de Jeune Femme aux roses (Lot 1027), created during this later period, will appear in the upcoming sale presented immediately after Jeune Femme au Petit Chien (Lot 1026), an early masterpiece. Examining both paintings would reveal that the artist’s appreciation of femininity and beauty was not yet extinguished. If the earlier example represents the ardor and erotic desire of romantic love, the current lot might then exemplify purity, sincerity and holiness.

“Joy of the Redeemed: The wilderness and the solitary place shall be glad for them; and the desert shall rejoice, and blossom as the rose.”

Isaiah 35

The year 1959 was a critical time in the artist’s life. Foujita and his wife Kimiyo converted to Catholicism, and he was baptized as Léonard, a name he chose himself. This event marked the end of Foujita’s life as a foreigner in France, and began his life as Frenchman both in terms of formal and cultural identities. Portrait de Jeune Femme aux roses was completed in the same year. Immersed in a religious environment, the artist found an invisible power in his art. Portrait was still his preferred format, but an additional dimension of religious meaning was found in paintings in this phase. The blonde young woman in Portrait de Jeune Femme aux roses is sweet and delightful. A milky-white glow radiates from her fair skin, yet there is no hint of the erotic suggestion of his 1920s nude paintings. Instead the image is a symbol for purity. In the painting, the young woman places her hands on her chest, looking directly forward. Her posture is a reference to other depictions of Mary Magdalene cradling her chest praying for salvation, a classic imagery in the Catholic faith. In adopting this gestural symbol,  Foujita expresses the detailed observation of the beauty of the human body and physical movements, as well as his own hope for salvation upon conversion to Catholicism at a senior age.

In Portrait de Jeune Femme aux roses, the rose garden behind the young woman is also noteworthy. Flower buds as well as roses in full bloom are found on the branches, further enhancing the youthful beauty of the woman. In the Catholic tradition, roses in full bloom symbolize nobility and holiness. Hence, The Rosary is an important prayer used in the Catholic faith, a metaphor for the words in the prayer being fragrant and noble like the rose.  In addition to the religious meaning, the rose also brings elegance and beauty in the common world. In the aftermath of the war, Foujita channeled all his hopes for the world into his paintings. Although he was approaching his twilight years, the lines he painted were firm and the colors vibrant and even, filling the canvas with a sense of fulfillment and happiness.



This work is accompanied by certificates of authenticity issued by Tokyo Art Club and Sylvie Buisson
This work will be included in the artist's forthcoming Catalogue Raisonné prepared by Sylvie Buisson, Léonard-Tsuguharu Foujita IV (No.D59.128.H)