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באלטוס (1908-2001)

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<div><font face=Lato size=3>"Study for Three Sisters," a 1954 mixed media drawing by Balthus, offers an intimate glimpse into the artist’s preliminary creative process. Executed in pencil with subtle blue watercolor accents, this sketch captures two figures—a reclining woman and a seated child—arranged with a spontaneous yet deliberate energy on a couch. The loose, expressive lines and minimal detailing reveal the immediacy and personality of the subjects, contrasting with the more formal and structured compositions of his final paintings. As a study for the major work "Three Sisters" within a series of significant canvases by the same name, it provides a window into Balthus’ evolution, showcasing how he refined his subjects over time and approached their portrayal with careful consideration. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Balthus, like many avant-garde artists of the early 20th century such as Paul Gauguin, Edvard Munch, and Pablo Picasso, saw children as vessels of raw, unformed spirit, untouched by societal constraints, and viewed adolescent themes as a potent source of psychological depth and uninhibited expression. This perspective infuses the drawing with a tender yet enigmatic quality. The provenance includes Nicholas Fox Weber, the acclaimed Balthus biographer, adding historical weight to the piece. A related "sister drawing" is held in the Art Institute of Chicago’s permanent collection, further affirming its significance. This work not only highlights Balthus’ mastery of mixed media but also serves as a compelling study of youth and intimacy, inviting viewers to explore the artist’s thoughtful development of his iconic themes. </font></div> <div><font face=Lato size=3>"Study for Three Sisters," a 1954 mixed media drawing by Balthus, offers an intimate glimpse into the artist’s preliminary creative process. Executed in pencil with subtle blue watercolor accents, this sketch captures two figures—a reclining woman and a seated child—arranged with a spontaneous yet deliberate energy on a couch. The loose, expressive lines and minimal detailing reveal the immediacy and personality of the subjects, contrasting with the more formal and structured compositions of his final paintings. As a study for the major work "Three Sisters" within a series of significant canvases by the same name, it provides a window into Balthus’ evolution, showcasing how he refined his subjects over time and approached their portrayal with careful consideration. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Balthus, like many avant-garde artists of the early 20th century such as Paul Gauguin, Edvard Munch, and Pablo Picasso, saw children as vessels of raw, unformed spirit, untouched by societal constraints, and viewed adolescent themes as a potent source of psychological depth and uninhibited expression. This perspective infuses the drawing with a tender yet enigmatic quality. The provenance includes Nicholas Fox Weber, the acclaimed Balthus biographer, adding historical weight to the piece. A related "sister drawing" is held in the Art Institute of Chicago’s permanent collection, further affirming its significance. This work not only highlights Balthus’ mastery of mixed media but also serves as a compelling study of youth and intimacy, inviting viewers to explore the artist’s thoughtful development of his iconic themes. </font></div> <div><font face=Lato size=3>"Study for Three Sisters," a 1954 mixed media drawing by Balthus, offers an intimate glimpse into the artist’s preliminary creative process. Executed in pencil with subtle blue watercolor accents, this sketch captures two figures—a reclining woman and a seated child—arranged with a spontaneous yet deliberate energy on a couch. The loose, expressive lines and minimal detailing reveal the immediacy and personality of the subjects, contrasting with the more formal and structured compositions of his final paintings. As a study for the major work "Three Sisters" within a series of significant canvases by the same name, it provides a window into Balthus’ evolution, showcasing how he refined his subjects over time and approached their portrayal with careful consideration. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Balthus, like many avant-garde artists of the early 20th century such as Paul Gauguin, Edvard Munch, and Pablo Picasso, saw children as vessels of raw, unformed spirit, untouched by societal constraints, and viewed adolescent themes as a potent source of psychological depth and uninhibited expression. This perspective infuses the drawing with a tender yet enigmatic quality. The provenance includes Nicholas Fox Weber, the acclaimed Balthus biographer, adding historical weight to the piece. A related "sister drawing" is held in the Art Institute of Chicago’s permanent collection, further affirming its significance. This work not only highlights Balthus’ mastery of mixed media but also serves as a compelling study of youth and intimacy, inviting viewers to explore the artist’s thoughtful development of his iconic themes. </font></div> <div><font face=Lato size=3>"Study for Three Sisters," a 1954 mixed media drawing by Balthus, offers an intimate glimpse into the artist’s preliminary creative process. Executed in pencil with subtle blue watercolor accents, this sketch captures two figures—a reclining woman and a seated child—arranged with a spontaneous yet deliberate energy on a couch. The loose, expressive lines and minimal detailing reveal the immediacy and personality of the subjects, contrasting with the more formal and structured compositions of his final paintings. As a study for the major work "Three Sisters" within a series of significant canvases by the same name, it provides a window into Balthus’ evolution, showcasing how he refined his subjects over time and approached their portrayal with careful consideration. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Balthus, like many avant-garde artists of the early 20th century such as Paul Gauguin, Edvard Munch, and Pablo Picasso, saw children as vessels of raw, unformed spirit, untouched by societal constraints, and viewed adolescent themes as a potent source of psychological depth and uninhibited expression. This perspective infuses the drawing with a tender yet enigmatic quality. The provenance includes Nicholas Fox Weber, the acclaimed Balthus biographer, adding historical weight to the piece. A related "sister drawing" is held in the Art Institute of Chicago’s permanent collection, further affirming its significance. This work not only highlights Balthus’ mastery of mixed media but also serves as a compelling study of youth and intimacy, inviting viewers to explore the artist’s thoughtful development of his iconic themes. </font></div> <div><font face=Lato size=3>"Study for Three Sisters," a 1954 mixed media drawing by Balthus, offers an intimate glimpse into the artist’s preliminary creative process. Executed in pencil with subtle blue watercolor accents, this sketch captures two figures—a reclining woman and a seated child—arranged with a spontaneous yet deliberate energy on a couch. The loose, expressive lines and minimal detailing reveal the immediacy and personality of the subjects, contrasting with the more formal and structured compositions of his final paintings. As a study for the major work "Three Sisters" within a series of significant canvases by the same name, it provides a window into Balthus’ evolution, showcasing how he refined his subjects over time and approached their portrayal with careful consideration. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Balthus, like many avant-garde artists of the early 20th century such as Paul Gauguin, Edvard Munch, and Pablo Picasso, saw children as vessels of raw, unformed spirit, untouched by societal constraints, and viewed adolescent themes as a potent source of psychological depth and uninhibited expression. This perspective infuses the drawing with a tender yet enigmatic quality. The provenance includes Nicholas Fox Weber, the acclaimed Balthus biographer, adding historical weight to the piece. A related "sister drawing" is held in the Art Institute of Chicago’s permanent collection, further affirming its significance. This work not only highlights Balthus’ mastery of mixed media but also serves as a compelling study of youth and intimacy, inviting viewers to explore the artist’s thoughtful development of his iconic themes. </font></div> <div><font face=Lato size=3>"Study for Three Sisters," a 1954 mixed media drawing by Balthus, offers an intimate glimpse into the artist’s preliminary creative process. Executed in pencil with subtle blue watercolor accents, this sketch captures two figures—a reclining woman and a seated child—arranged with a spontaneous yet deliberate energy on a couch. The loose, expressive lines and minimal detailing reveal the immediacy and personality of the subjects, contrasting with the more formal and structured compositions of his final paintings. As a study for the major work "Three Sisters" within a series of significant canvases by the same name, it provides a window into Balthus’ evolution, showcasing how he refined his subjects over time and approached their portrayal with careful consideration. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Balthus, like many avant-garde artists of the early 20th century such as Paul Gauguin, Edvard Munch, and Pablo Picasso, saw children as vessels of raw, unformed spirit, untouched by societal constraints, and viewed adolescent themes as a potent source of psychological depth and uninhibited expression. This perspective infuses the drawing with a tender yet enigmatic quality. The provenance includes Nicholas Fox Weber, the acclaimed Balthus biographer, adding historical weight to the piece. A related "sister drawing" is held in the Art Institute of Chicago’s permanent collection, further affirming its significance. This work not only highlights Balthus’ mastery of mixed media but also serves as a compelling study of youth and intimacy, inviting viewers to explore the artist’s thoughtful development of his iconic themes. </font></div> <div><font face=Lato size=3>"Study for Three Sisters," a 1954 mixed media drawing by Balthus, offers an intimate glimpse into the artist’s preliminary creative process. Executed in pencil with subtle blue watercolor accents, this sketch captures two figures—a reclining woman and a seated child—arranged with a spontaneous yet deliberate energy on a couch. The loose, expressive lines and minimal detailing reveal the immediacy and personality of the subjects, contrasting with the more formal and structured compositions of his final paintings. As a study for the major work "Three Sisters" within a series of significant canvases by the same name, it provides a window into Balthus’ evolution, showcasing how he refined his subjects over time and approached their portrayal with careful consideration. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Balthus, like many avant-garde artists of the early 20th century such as Paul Gauguin, Edvard Munch, and Pablo Picasso, saw children as vessels of raw, unformed spirit, untouched by societal constraints, and viewed adolescent themes as a potent source of psychological depth and uninhibited expression. This perspective infuses the drawing with a tender yet enigmatic quality. The provenance includes Nicholas Fox Weber, the acclaimed Balthus biographer, adding historical weight to the piece. A related "sister drawing" is held in the Art Institute of Chicago’s permanent collection, further affirming its significance. This work not only highlights Balthus’ mastery of mixed media but also serves as a compelling study of youth and intimacy, inviting viewers to explore the artist’s thoughtful development of his iconic themes. </font></div> <div><font face=Lato size=3>"Study for Three Sisters," a 1954 mixed media drawing by Balthus, offers an intimate glimpse into the artist’s preliminary creative process. Executed in pencil with subtle blue watercolor accents, this sketch captures two figures—a reclining woman and a seated child—arranged with a spontaneous yet deliberate energy on a couch. The loose, expressive lines and minimal detailing reveal the immediacy and personality of the subjects, contrasting with the more formal and structured compositions of his final paintings. As a study for the major work "Three Sisters" within a series of significant canvases by the same name, it provides a window into Balthus’ evolution, showcasing how he refined his subjects over time and approached their portrayal with careful consideration. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Balthus, like many avant-garde artists of the early 20th century such as Paul Gauguin, Edvard Munch, and Pablo Picasso, saw children as vessels of raw, unformed spirit, untouched by societal constraints, and viewed adolescent themes as a potent source of psychological depth and uninhibited expression. This perspective infuses the drawing with a tender yet enigmatic quality. The provenance includes Nicholas Fox Weber, the acclaimed Balthus biographer, adding historical weight to the piece. A related "sister drawing" is held in the Art Institute of Chicago’s permanent collection, further affirming its significance. This work not only highlights Balthus’ mastery of mixed media but also serves as a compelling study of youth and intimacy, inviting viewers to explore the artist’s thoughtful development of his iconic themes. </font></div> <div><font face=Lato size=3>"Study for Three Sisters," a 1954 mixed media drawing by Balthus, offers an intimate glimpse into the artist’s preliminary creative process. Executed in pencil with subtle blue watercolor accents, this sketch captures two figures—a reclining woman and a seated child—arranged with a spontaneous yet deliberate energy on a couch. The loose, expressive lines and minimal detailing reveal the immediacy and personality of the subjects, contrasting with the more formal and structured compositions of his final paintings. As a study for the major work "Three Sisters" within a series of significant canvases by the same name, it provides a window into Balthus’ evolution, showcasing how he refined his subjects over time and approached their portrayal with careful consideration. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Balthus, like many avant-garde artists of the early 20th century such as Paul Gauguin, Edvard Munch, and Pablo Picasso, saw children as vessels of raw, unformed spirit, untouched by societal constraints, and viewed adolescent themes as a potent source of psychological depth and uninhibited expression. This perspective infuses the drawing with a tender yet enigmatic quality. The provenance includes Nicholas Fox Weber, the acclaimed Balthus biographer, adding historical weight to the piece. A related "sister drawing" is held in the Art Institute of Chicago’s permanent collection, further affirming its significance. This work not only highlights Balthus’ mastery of mixed media but also serves as a compelling study of youth and intimacy, inviting viewers to explore the artist’s thoughtful development of his iconic themes. </font></div> <div><font face=Lato size=3>"Study for Three Sisters," a 1954 mixed media drawing by Balthus, offers an intimate glimpse into the artist’s preliminary creative process. Executed in pencil with subtle blue watercolor accents, this sketch captures two figures—a reclining woman and a seated child—arranged with a spontaneous yet deliberate energy on a couch. The loose, expressive lines and minimal detailing reveal the immediacy and personality of the subjects, contrasting with the more formal and structured compositions of his final paintings. As a study for the major work "Three Sisters" within a series of significant canvases by the same name, it provides a window into Balthus’ evolution, showcasing how he refined his subjects over time and approached their portrayal with careful consideration. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Balthus, like many avant-garde artists of the early 20th century such as Paul Gauguin, Edvard Munch, and Pablo Picasso, saw children as vessels of raw, unformed spirit, untouched by societal constraints, and viewed adolescent themes as a potent source of psychological depth and uninhibited expression. This perspective infuses the drawing with a tender yet enigmatic quality. The provenance includes Nicholas Fox Weber, the acclaimed Balthus biographer, adding historical weight to the piece. A related "sister drawing" is held in the Art Institute of Chicago’s permanent collection, further affirming its significance. This work not only highlights Balthus’ mastery of mixed media but also serves as a compelling study of youth and intimacy, inviting viewers to explore the artist’s thoughtful development of his iconic themes. </font></div>
מחקר לשלוש אחיות 1954 15 x 12 אינץ' (38.1 x 30.48 ס"מ) טכניקה מעורבת
מקור ומקור
אוסף קתרין וניקולס פוקס וובר, 1976
ספרות
Virginie Monnier, Jean Clair, & Balthus, Balthus: catalog raisonné de l'oeuvre complet, פריז, 1999, no. D741, עמ'. 269

95,000

""מחקר לשלוש אחיות", רישום מדיה מעורבת משנת 1954 מאת בלתוס, מציע הצצה אינטימית לתהליך היצירה הראשוני של האמן. סקיצה זו, שצוירה בעיפרון עם נגיעות עדינות בצבעי מים כחולים, לוכדת שתי דמויות - אישה שוכבת וילדה יושבת - המסודרות באנרגיה ספונטנית אך מכוונת על ספה. הקווים הרופפים, האקספרסיביים והפירוט המינימלי חושפים את המיידיות והאישיות של הנושאים, בניגוד לקומפוזיציות הפורמליות והמובנות יותר של ציוריו הסופיים. כמחקר לעבודה המרכזית "שלוש אחיות" בתוך סדרת קנבסים משמעותיים באותו שם, היא מספקת הצצה לאבולוציה של בלתוס, ומציגה כיצד הוא שיכלל את נושאיו לאורך זמן וניגש לתיאורם בשיקול דעת.





בלתוס, כמו אמנים אוונגרדיים רבים מתחילת המאה ה-20, כמו פול גוגן, אדוארד מונק ופבלו פיקאסו, ראה בילדים כלי של רוח גולמית ולא מעוצבת, שלא נגעו בה אילוצים חברתיים, וראה בנושאים של גיל ההתבגרות מקור רב עוצמה לעומק פסיכולוגי וביטוי בלתי מעכב. נקודת מבט זו יוצרת בציור איכות רכה אך אניגמטית. מקור הציור כולל את ניקולס פוקס ובר, הביוגרף המהולל של בלתוס, מה שמוסיף משקל היסטורי ליצירה. "רישום אחות" קשור נמצא באוסף הקבוע של מכון האמנות של שיקגו, מה שמאשר עוד יותר את חשיבותו. עבודה זו לא רק מדגישה את שליטתו של בלתוס במדיה מעורבת, אלא גם משמשת כמחקר מרתק על נעורים ואינטימיות, ומזמינה את הצופים לחקור את הפיתוח המחושב של האמן את הנושאים האיקוניים שלו.
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