Still Life, Gladiolas
Chaim Soutine
European Art
Here, Chaim Soutine’s expressive flowers, luminous against the dark background, reflect the influence of the artists he most admired: Rembrandt van Rijn, Francisco Goya, and Gustave Courbet. He made ten paintings of gladioli, perhaps drawn to these flowers because they were the color of blood, a substance depicted in many of his still lifes of dead animals. A critic in 1926 found blood an apt metaphor for Soutine’s painterly and emotional force: “His work looks to me like a hemorrhage. Before rendering his soul, the artist spits up all his blood. And each spurt gives birth to a new vision, singularly intense, tragic, and painful.”
Soutine struggled in poverty after arriving in Paris in 1913 from Russia (present-day Belarus). His fortunes changed in 1922, when the American collector Albert Barnes bought fifty-two of his paintings, likely including this one. Barnes gave the work to his wife, Laura, who in turn bequeathed it to the Brooklyn Museum.
MEDIUM
Oil on canvas
DATES
ca. 1919
DIMENSIONS
21 3/4 x 18 1/4 in. (55.2 x 46.4 cm)
Frame: 27 x 23 1/2 in. (68.6 x 59.7 cm)
(show scale)
SIGNATURE
Signed lower right: "Soutine"
ACCESSION NUMBER
67.24.24
CREDIT LINE
Bequest of Laura L. Barnes
PROVENANCE
Prior to 1966, provenance not yet documented; by April 29, 1966, acquired by Laura Leggett Barnes of Merion, PA; 1967, bequeathed by Laura Leggett Barnes to the Brooklyn Museum.
Provenance FAQ
MUSEUM LOCATION
This item is not on view
CAPTION
Chaim Soutine (Smilavicy, present–day Belarus (former Russian Empire), 1893 – 1943, Paris, France). Still Life, Gladiolas, ca. 1919. Oil on canvas, 21 3/4 x 18 1/4 in. (55.2 x 46.4 cm). Brooklyn Museum, Bequest of Laura L. Barnes, 67.24.24. © artist or artist's estate (Photo: Brooklyn Museum, 67.24.24_PS9.jpg)
IMAGE
overall, 67.24.24_PS9.jpg. Brooklyn Museum photograph, 2015
"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.
RIGHTS STATEMENT
© artist or artist's estate
Copyright for this work may be controlled by the artist, the artist's estate, or other rights holders. A more detailed analysis of its rights history may, however, place it in the public domain.
The Museum does not warrant that the use of this work will not infringe on the rights of third parties. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act.
For further information about copyright, we recommend resources at the
United States Library of Congress,
Cornell University,
Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums, and
Copyright Watch.
For more information about the Museum's rights project, including how rights types are assigned, please see our
blog posts on copyright.
If you have any information regarding this work and rights to it, please contact
copyright@brooklynmuseum.org.
RECORD COMPLETENESS
Not every record you will find here is complete. More information is available for some works than for others, and some entries have been updated more recently. Records are frequently reviewed and revised, and
we welcome any additional information you might have.