Balthus, ‘Nature morte aux fleurs’, 1955, Simon Studer Art

The work is printed upside down in the Catalogue Raisonné.
The artist depicts amaryllis, morning glories and gingko leaves.
It is probably a study for the painting Les Volubilis I, from 1955.

Balthus: de Piero della Francesca à Alberto Giacometti, Vevey, Musée Jenisch, May 12 - August 25 2002
Balthus, Chicago, The Arts Club of Chicago, September 21 - October 28 1964, no. 50
Drawings by Balthus, New York, Galerie E V Thaw & Co, November 26 - December 21 1963, no. 37

Balthus : De Piero della Francesca à Alberto Giacometti, Vevey, Musée Jenisch, 2002, p. 60 (ill.)
Jean Clair, Virginie Monnier, Balthus : Catalogue Raisonné de l'oeuvre complet, Paris, Gallimard, 1999, p. 281 (ill.)

Stephen Richard et Audrey Currier
Christie's Sale, New York, May 17 1984, lot no. 183
Jan Krugier Gallery, Ditesheim & Cie, Geneva
Private collection, Geneva

About Balthus

Balthazar Klossowski, better known as Balthus, bucked the trends of mid-20th century avant-gardism, concentrating on traditional landscapes, still lifes, and portraits in the tradition of the Old Masters. Despite Balthus’s formal conservatism, he became infamous in the 1930s for sexually charged depictions of adolescent girls. Thérèse Dreaming (1930), for instance, features a pre-pubescent girl lost in her own thoughts as she perches one bent leg on a stool, causing her skirt to fall back. Balthus later returned to painting landscapes in the vein of Nicolas Poussin and Gustave Courbet, like The Mountain (1937). Although rendered in a painstakingly realist style, this painting figures among the works—along with The Street (1933)—that prompted some critics to label Balthus as a Surrealist for his depiction of bizarre narrative scenes and dreamlike atmospheres.

French, 1908-2001, Paris, France, based in Rossinière, Switzerland

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