75 Charley Toorop (1891-1955) Still life with wine bottles and a plate signed with monogram ‘CT’ (lower left); signed and dated ‘Charley Toorop./1922’ (on the reverse) oil on board, 63,5x76 cm
The still life genre occupies a special place within the oeuvre of Charley Toorop. Although Toorop is probably best known for her portraits, still lifes were prominently present in her early works. She used this genre as a means of exploring structure, rhythm, and form. Painted in 1922, this work shows how Toorop did not merely observe the subject but primarily analysed her inner world, undermining the importance of recreating reality. The objects become concepts instead of merely randomly arranged bottles and dishes. She deliberately creates confusion by playing with the plane division and shapes. Correct perspective was not her objective: in the present lot, the wall tiles distort the perspective, while the dark wine bottles create a strong focal point. The composition is organised with stark clarity. The bright colours, peculiar perspective, sharp contours, and contrasts create an uncompromising directness, while the presence of the objects conveys an unusual sense of weight and monumentality. Born in Katwijk aan Zee as the daughter of the celebrated artist Jan Toorop (1858-1928), Charley grew up within progressive art circles. After taking lessons from H.P. Bremmer (1871-1956) and her father, and being surrounded by avant-garde artists, she first began working in the Expressionist style, influenced by artists of Der Blaue Reiter such as Wassily Kandinsky (1866-1944). From 1916, she became part of the artist group Het Signaal. They strived to depict a deep sense of reality through heavily accentuated lines and bright colour contrasts; this vision radiates through the present painting. Although she adhered to various styles such as Expressionism and the Bergen School in her oeuvre, Toorop never fully associated with a single movement. Eventually, she developed a highly personal style, unique in Dutch twentieth-century art, characterised by its robustness and power.
€20,000 - €30,000
Exhibited: -Amsterdam, 1923, no. 135 (according to Brederoo 1982). -The Hague, Dienst voor Schone Kunsten der Gemeente ‘s-Gravenhage, ’Charley Toorop’ (18 April-24 June 1951)/Amsterdam, Stedelijk Museum (2 July-30 September 1951)/Eindhoven, Stedelijk Van Abbenmuseum (6 October-25 November 1951), no. 27 (label attached to the reverse). -Hilversum, Goois Museum, ‘Tentoonstelling Charley Toorop’, December 1956-January 1957, no. 5. Literature: -J.G. van Gelder, Paul Haessaerts, A.M. Hammacher and red. Hendricus Petrus Bremmer, ‘Beeldende kunst’, 10 (5 March 1923), no. 5, ill. no. 40 (label attached to the reverse). -A.M. Hammacher, ‘Charley Toorop, een beschouwing van haar leven en werk’, Rotterdam 1952, p. 112, no. 60. -Goois Museum, ‘Tentoonstelling Charley Toorop’, Hilversum 1956, no. 5. -Nico Brederoo, ‘Charley Toorop: leven en werken’, Amsterdam 1982, ill. p. 295, no. 313.
Provenance: -Collection H.P. Bremmer, The Hague (according to an annotation on the reverse). -Collection Mrs Takens, Zaandam (according to an annotation on the reverse).
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