Othon Friesz (1879-1949)
Biography
(b
Le
Havre,
6
Feb
1879;
d
Paris,
10
Jan
1949).
French
painter.
He
began
his
training
in
Le
Havre
in
1896
under
the
enlightened
teaching
of
the
French
painter
Charles
Lhuillier
(1824–99)
and
continued
in
Paris
under
Léon
Bonnat
until
1904
at
the
Ecole
des
Beaux-Arts.
In
1903,
however,
he
decided
against
an
academic
career
and
started
showing
his
work
at
the
Salon
des
Indépendants
and,
from
1904,
at
the
Salon
d’Automne.
At
this
... (view more)
(b Le Havre, 6 Feb 1879; d Paris, 10 Jan 1949). French painter. He began his training in Le Havre in 1896 under the enlightened teaching of the French painter Charles Lhuillier (1824–99) and continued in Paris under Léon Bonnat until 1904 at the Ecole des Beaux-Arts. In 1903, however, he decided against an academic career and started showing his work at the Salon des Indépendants and, from 1904, at the Salon d’Automne. At this stage he was working in an Impressionist style (for illustration see LE HAVRE). Following the emergence of FAUVISM at the infamous Salon d’Automne of 1905 and a painting trip with Georges Braque to Antwerp in 1906, he adopted the bright, anti-naturalistic palette of the Fauves, for example in his Fernand Fleuret (1907; Paris, Pompidou). He became closely associated with Matisse, renting a studio in the same building as him in Paris from 1905 to 1908. In the summer of 1907, however, painting with Braque in La Ciotat, in the Midi, Friesz began to turn to the example of Cézanne, seeking to emphasize a strong sense of pictorial construction that he felt had been sacrificed to Fauvism’s colouristic excesses. The Arcadian subject-matter of much of his subsequent work up to 1914 was also indebted to Cézanne, especially to his Bather compositions, as in Spring (1908; Paris, Mus. A. Mod. Ville Paris). Like Cézanne, Friesz was anxious to re-establish connections between contemporary, avant-garde painting and the classical tradition, a quest enhanced by a trip to Italy in 1909, where he was particularly struck by the work of Raphael and Giotto, and by his frequent studies in the Louvre. In 1911 Friesz went to paint in Portugal where, echoing Cézanne’s remarks, he said, ‘You can see Poussin remade according to nature’ (Brielle, p. 14). As a result, despite close connections with the Cubist circle of artists and writers, Friesz never renounced a realistic figurative style.
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Web Resources with information about Friesz - 5
Emile Othon Friesz
Othon Friesz - Wikipedia, the free encyclopedia
The Chrysler Museum of Art : Education & Events
Emile-Othon Friesz Biography
Tate Collection | The Castle of Falaise (Evening) by Othon Friesz
