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Jean Crotti

Ciel, 1921

Charcoal and gouache on paper
7 1/10 × 10 4/5 in
18 × 27.5 cm
Bidding closed
About the work
Exhibition history
Provenance
DA
DIGARD AUCTION

monogrammed and dated lower left, signed, titled and dated on reverse
18 × 27,5 cm - 7,1 x 10,8 in

monogrammed and dated lower left, signed, titled and dated on reverse
18 × 27,5 cm - 7,1 x 10,8 in

Medium
Drawing, Collage or other Work on Paper
Jean Crotti
French, 1878–1958
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To the deeply spiritual Jean Crotti, abstraction was a tool for grappling with existential questions. It stands as his main stylistic consistency, although he incorporated some figuration and blended elements of Cubism, Orphism, Futurism, and Dada throughout his oeuvre. Crotti and his wife Suzanne Duchamp (Marcel’s sister) developed Tabu, an offshoot of Dada distinguished, according to The New York Times critic Holland Cotter, “by its rejection of the negative, anti-art aspects of the original.” While the style proved short-lived, Nocturne (1922)—constituting three large, overlapping spheres punctuated by smaller black and white circles—is a particularly fine example, its planetary forms representing the birth and death of the universe, a subject that engrossed Crotti.

Save
Save
view
View in room
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Save
Save
view
View in room
share
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About the work
Exhibition history
Provenance
DA
DIGARD AUCTION

monogrammed and dated lower left, signed, titled and dated on reverse
18 × 27,5 cm - 7,1 x 10,8 in

monogrammed and dated lower left, signed, titled and dated on reverse
18 × 27,5 cm - 7,1 x 10,8 in

Medium
Drawing, Collage or other Work on Paper
Jean Crotti
French, 1878–1958
Follow

To the deeply spiritual Jean Crotti, abstraction was a tool for grappling with existential questions. It stands as his main stylistic consistency, although he incorporated some figuration and blended elements of Cubism, Orphism, Futurism, and Dada throughout his oeuvre. Crotti and his wife Suzanne Duchamp (Marcel’s sister) developed Tabu, an offshoot of Dada distinguished, according to The New York Times critic Holland Cotter, “by its rejection of the negative, anti-art aspects of the original.” While the style proved short-lived, Nocturne (1922)—constituting three large, overlapping spheres punctuated by smaller black and white circles—is a particularly fine example, its planetary forms representing the birth and death of the universe, a subject that engrossed Crotti.

Jean Crotti

Ciel, 1921

Charcoal and gouache on paper
7 1/10 × 10 4/5 in
18 × 27.5 cm
Bidding closed
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