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 Most exhibitions in: |
| Country |
№ |
| USA | 10 |
| Germany | 6 |
| France | 5 |
| Spain | 4 |
| Switzerland | 4 |
| Most exhibitions held at: |
| Institution |
№ |
| |
Musée d'art moderne de Céret, France |
2 |
| |
The Jewish Museum of New York, USA |
2 |
| |
Fundación Juan March, Spain |
2 |
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Kunstmuseum Basel, Switzerland |
2 |
Biography: 
1893 Born in Smilowicze, Minsk (RU)
Chaim Soutine came to Paris at twenty in order to study the art at the city´s museums and to become a painter. In the Louvre he looked intently at the natural painters - Titian, Tintoretto, Courbet, but also Fouquet, whose clean contouring he admired. He learned most directly, however, from artists closer to his own time: from Cézanne, he adopted the lesson of flattening objects and deforming their appearance so as to comply with the surface of the picture.
Bonnard´s paintings showed him the way to further unify a picture by applying liquid brush strokes all over the picture plain. Van Gogh´s expressive gesture presented an example for art packed with intense personal feeling. In 1919 Soutine moved to Céret, a town in the French Pyrenees, where the Cubist had lived before the war.
During the next three years, Soutine produced a body of work unique in modern times; paintings that may accurately be labeled ecstatic, both for their convulsiveness and evocation of exhilarant sensation.
Although Soutine mostly painted landscapes at Céret, certain portraits, including the mysterious series of men praying, in which the human shapes are flame-like, rank supreme in his overall achievement. It was about portraits like these that De Kooning acutely commented: "Soutine distorted the pictures but not the people."
Some of the force and unmediated density of the Céret-style is transmitted to the form distortion of Cagnes, the site of Soutine´s subsequent phase (1923-25). Shapes are often splayed open and out. There is an apparent desire to balance the ferocity of paint handling with draughtsmanship. Portrait figures take on not only vivacity and liveliness at Cagnes (and hence a new quality of style), but also account for the different personality types that posed for Soutine in the Southern French town.
Between 1925 and 1929 Soutine was mostly based in Paris, where he rarely ventured out of his studio. Paintings from this time are mostly still-lifes: dead pheasants, turkeys and rabbits, carcasses of beef, the ray fish as well as portraits of figures in uniform, such as hotel and restaurant waiters or choirboys.
Soutine then tried to wrest from the studio setting the sense of vivid struggle previously encountered in nature, and for assistance in this ambition he turned more frankly than before to the works of old masters. This shift to indoors art is announced not only by the generalized influence of artists from the past, but also by the virtual paraphrase of Chardin in the years between 1924 and 1925. Soutine installed a ray fish in emulation of Chardin´s great Louvre picture and executed three paintings before this set-up. This homage to Chardin was followed in the next year by the re-interpretation of Rembrandt´s Slaughtered Ox. These works mark the high point of Soutine´s achievements.
Soutine, who was born in Smilovitchi, a small community in Lithuania, and who grew up in extreme poverty, turned to art despite the opposition of his orthodox Jewish family and remained for the rest of his life profoundly influenced by the traditions of his religious heritage.
While France was occupied by the armies of Nazi-Germany, Soutine and his female companion Gerda Groth were not allowed to leave their place of residence. Gerda Groth was later brought to a concentration camp, which she survived. In 1941, Soutine and his new companion Marie-Berthe Aurenche, the former wife of painter Max Ernst, went underground and were hidden from their persecutors by French friends. On August 9, 1943, Soutine died in Paris after a bungled emergency surgery.
Back to Soutine´s artistic influence: De Kooning´s paintings and drawings from the early 1950s to the early 1970s will reveal, for example, why De Kooning regarded Soutine as his "favourite" painter, and professed a preference for the Céret-period landscapes and portraits (1919-1922). Pollock spoke to his early biographer of his indebtness to Soutine in the context of his late masterpiece Scent, a homage to the earlier Expressionist painter. Jean Dubuffet´s concept of art was affected by Soutine´s seemingly untaught and direct manner, as it will be demonstrated by specific images of the flesh and innards of animals and humans in the artist´s legendary Beef canvases. Dubuffet´s paintings of the late 1940s and early 1950s, including the Corps de dames series, portraits, and the "table" still lifes reflect his appreciation of Soutine. Francis Bacon was dramatically affected in the late 1940s by Soutine´s ability to freely capture the essence of the personage portrayed.
9.8.1943 Died in Paris (FR)
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Public exhibitions 33
Solo shows 7
2009
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| Chaim Soutine - Galerie Thomas, Munich |
2008
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| Soutine und die Moderne - Kunstmuseum Basel, Basel |
2007
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| Chaim Soutine - Pinacotheque de Paris, Paris |
2001
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| The Impact of Chaim Soutine (1893-1943) - - Galerie Gmurzynska - Köln, Cologne (closed, 2006) |
2000
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| Chaïm Soutine - Céret 1919-1922 - Musée d'art moderne de Céret, Céret |
1998
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| An Expressionist in Paris - The Paintings of Chaim Soutine - The Jewish Museum of New York, New York City, NY |
1950
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| Chaim Soutine - MoMA - Museum of Modern Art, New York City, NY |
Group shows 26
2009
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| Un siècle de paysages sublimés - Céret, 1909-2009 - Musée d'art moderne de Céret, Céret |
2008
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| Henri Matisse and Modern Art on the French Riviera - Philadelphia Museum of Art, Philadelphia, PA |
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| Modigliani and his Times - Fundación Caja Madrid, Madrid |
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| Modigliani y su tiempo - Museo Thyssen-Bornemisza, Madrid |
2006
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| Artists and Their Models - Hong Kong Museum of Art, Hong Kong, SAR |
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| The Fauve Look - MNAC - Museu do Chiado, Lisbon |
2004
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| Picasso - Chagall - Jawlensky - Soutine - Kunstmuseum Basel, Basel |
2003
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| Das Recht des Bildes - Kunstmuseum Bochum, Bochum |
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| Treffpunkt Paris - Ludwig Museum im Deutschherrenhaus, Koblenz |
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| Modigliani and the Artists of Montparnasse - Kimbell Art Museum, Fort Worth, TX |
2002
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| "Wühlen in Farben, Wälzen in Klängen" Aus der Sammlung - Kunstmuseum Luzern, Luzern |
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| Modigliani & the Artists of Montparnasse - Albright-Knox Art Gallery, Buffalo, NY |
2001
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| Renoir to Picasso - Masterpieces from the Musée de l'Orangerie, Paris - NGV National Gallery of Victoria, Melbourne, VIC |
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| Grands maîtres des XIXe et XXe siècles - Galerie Schmit, Paris |
2000
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| L'école de Paris, 1904-1929 - La part de l'Autre - Musée d´Art Moderne de la Ville de Paris - MAM/ARC, Paris |
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| Painters in Paris - 1895–1950 - The Metropolitan Museum of Art, New York City, NY |
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| Paris in New York - French Jewish Artists in Private Collections - The Jewish Museum of New York, New York City, NY |
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| Stilleben von Bernard bis Morandi - Kunsthandel Wolfgang Werner KG, Berlin |
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| Pissarro and Other Masters - Worcester Art Museum, Worcester, MA |
1999
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| Monet to Moore - Millenium Gift of the Sara Lee Corporation - Singapore Art Museum, Singapore |
1998
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| Von Matisse bis Dali. Die Kunst zu Sammeln - Das Legat Georges F. Keller - Kunstmuseum Bern, Bern |
1986
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| De Marées a Picasso: Obras Maestras Del Museo Wuppertal - Fundación Juan March, Madrid |
1979
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| Maestros del Siglo XX - Fundación Juan March, Madrid |
1964
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| documenta 3 - Documenta, Kassel |
1959
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| The Romantic Agony: From Goya to de Kooning - Contemporary Arts Museum Houston, Houston, TX |
1953
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| 5th Anniversary Exhibition - - Sidney Janis Gallery, New York City, NY (closed) |
| Dealer Directory 13 |
France
| | Galerie Cazeau-Béraudière, Paris
|
Germany
Japan
| | Galerie Tamenaga - Osaka, Osaka
|
| | Galerie Tamenaga - Nakano-Shima, Osaka
|
| | Galerie Tamenaga - Tokyo, Tokyo
|
Switzerland
| | Galerie Gmurzynska - St. Moritz, St. Moritz
|
| | Galerie Gmurzynska - Zug, Zug
|
| | Galerie Gmurzynska - Zürich, Zurich
|
United Kingdom
| | Crane Kalman Gallery, London (England)
|
USA
| | Acquavella Galleries, Inc., New York City, NY
|
| | Adelson Galleries, Inc., New York City, NY
|
| | Pascal de Sarthe Fine Art, Paradise Valley, AZ
|
Public collections 26
Australia
| | Queensland Art Gallery / Gallery of Modern Art, Brisbane, QLD
|
Colombia
| | Museo Botero, Santafé de Bogota
|
France
| | Musee de Grenoble, Grenoble
|
| | Musée d´Art Moderne de la Ville de Paris - MAM/ARC, Paris
|
| | Musée National de l´Orangerie, Paris
|
| | Centre Pompidou - Musée National d´Art Moderne, Paris
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Germany
| | Von der Heydt Museum, Wuppertal
|
Israel
| | Tel Aviv Museum of Art, Tel Aviv
|
Japan
| | Hiroshima Museum of Art, Hiroshima
|
| | Pola Museum of Art, Kanagawa
|
| | Shizuoka Prefectural Museum of Art, Shizuoka
|
| | Bridgestone Museum of Art, Tokyo
|
| | NMWA The National Museum of Western Art, Tokyo
|
Switzerland
| | Kunstmuseum Luzern, Luzern
|
| | Musée des beaux-arts de La Chaux-de-Fonds, Neuchâtel
|
United Kingdom
| | Tate Britain, London (England)
|
USA
| | Mead Art Museum, Amherst, MA
|
| | The Art Institute of Chicago, Chicago, IL
|
| | Los Angeles County Museum of Art - LACMA, Los Angeles, CA
|
| | The Minneapolis Institute of Arts, Minneapolis, MN
|
| | The Metropolitan Museum of Art, New York City, NY
|
| | Norton Simon Museum of Art, Pasadena, CA
|
| | Portland Art Museum, Portland, OR
|
| | Princeton University Art Museum, Princeton, NJ
|
| | Saint Louis Art Museum, Saint Louis, MO
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Catalogs
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