AGUTTES AGUTTES ONLINE CALENDAR RESULTS TO BUY TO SELL SPECIALTIES AGUTTES ARISTOPHIL VICTOR MARIE HUGO 维克多 · 雨果 (1802-1885) Results 19TH & 20TH CENTURY PAINTINGS - ART ... Lot n ° 19 19 80,000 - 120,000 € Results with fees Result: 140 250 € VICTOR MARIE HUGO 维克多 · 雨果 (1802-1885) L'Hermitage (Jersey) 1855 Pen and brown ink wash, signed and dated lower right 19 x 22 cm - 7 1/2 x 8 1/2 in. Brown ink on paper, signed and dated lower right BIBLIOGRAPHY P. Georgel, Drawings of Victor Hugo (cat. Exp. Villequiers, Musée Victor Hugo, June - October 1971; Paris, Maison de Victor Hugo, November 1971 - January 1972) Paris, 1971, n ° 66, p. 124-125. P. Georgel, This immense dream of the ocean: seascapes and other marine subjects by Victor Hugo (cat. Exp. Paris, Maison de Victor Hugo, 2 December 2005 - 5 March 2006), Paris, 2005, n ° 59 , p. 72. EXHIBITIONS Drawings by Victor Hugo, Musée Victor Hugo, Paris, from June to October 1971; Paris, Maison de Victor Hugo, from November 1971 to January 1972, n ° 66 This immense dream of the ocean: seascapes and other marine subjects by Victor Hugo, Maison de Victor Hugo, Paris, from December 2, 2005 to March 5 2006, n ° 59 PROVENANCE Doctor Terrier collection (donated by the artist in 1857) Paul Gauchery collection Robert Gauchery collection, passed down through the family since. 1855 年 19 x 22 厘米 纸 本 棕色 墨 ， 署名 及 日期 于 右下方 来源 艺术家 于 1857 年 赠与 Dr. Terrierg 收藏 Paul Gauchery 收藏 Robert Gauchery 收藏 ， 传 于 家族 后人 If the name of Victor Hugo resonates irremediably, in the collective imagination, with the figure of man of letters, defender of the people that he embodies, he is also one of the most inventive designers of the 19th century. From his pen are born more than four thousand sketches, sketches and drawings of all kinds, prolific and plural production whose fruitfulness will never be denied. The genius of these creations is due in large part to the singularity of the technique - or rather of the techniques - that Hugo deploys there: from a stain of ink, he draws a shape, a silhouette which soon becomes a motif and subject of the composition, after having undergone tonal variations and successive deformations. With Hugo, the hybridization between different processes and the creative impulse are at the origin of a quasi-automatic gesture which will make the admiration of the Surrealists against his graphic production. Within the immense work of Hugo, the drawing appears as a complement, if not a continuation of the writing; it conveys the major themes of its literature, its ideas - social, political, sometimes philosophical - and his struggles. These two sides of his creation finally come together, intimately intertwined, as Baudelaire suggests: “This magnificent imagination which flows in the drawings of Victor Hugo like mystery in the sky. I am talking about his drawings in Indian ink, because it is too obvious that in poetry our poet is the king of landscapers. Because literature and drawing spring up on the same medium - paper - and from the same medium - ink -; the pen of the writer becoming that of the artist. The date of creation of our ink evokes the political exile of Hugo following the coup d'état perpetrated by Napoleon III and the restoration of the Empire; the writer stayed in the Channel Islands between 1852 and 1870. This period corresponds to an abundant graphic production, the Hugo drawings taking on resolutely fantastic and mystical allures, inspired by the silhouette of the coasts and the architecture observed on the archipelago. From 1852 to 1855, Victor Hugo resided on the island of Jersey, where he chose to immortalize, by laying it down on paper, the chapel of a ruined castle truncating on the rock of L'Ermitage whose composition takes the last name. It is part of the aesthetic and the lineage of the eminently romantic landscapes which the writer had imbibed in the Rhine valley a few years earlier, as well as the blacks of Goya whose imagination feeds the Ugolian production. The values, the more or less dark areas structure the sheet to make it a very expressive and tormented work. As for the chapel, it echoes the vogue for the motif of the ruin, which took on its full extent with the development of the Romantic movement in Europe since the end of the 18th century, an object of meditation, Finally, Hugo's drawings are to be considered as true works of art, autonomous and intended to be framed, then presented, offered to view. This is evidenced by the Marie-Louise which borders L'Ermitage, produced during the writer's lifetime; This one carries a dedication addressed by his hand to Doctor Terrier, to whom he offers the ink to thank him for the care he administers to his daughter Adèle, victim of depression, then recovering. The Hermitage has been passed down through the family since that date, these few lines complementing this jewel of art with a personal and intimate touch and making this ink a half-open window on the private life of a great man and on the friendly bond. entered with a family member. Should the name of Victor Hugo resound deeply in the collective imagination as the figure of a man of letters and the defender of the people he embodies, it should also be known that he was one of the most inventive draftsmen of the nineteenth century. More than four thousand sketches and drawings of many kinds gushed out of his pen. Hugo was a very prolific creator of many drawings and these fertile grounds should not be forgotten. The genius of these creations in large part lies in the unique nature of the techniques employed. Hugo used several media and could turn a smudge of ink into a form or a figure's silhouette which then became the main motif or a complete composition after undergoing tonal variations and further changes. Hugo's ability to crossbreed diverse processes and his creative urge gave rise to a quasi-automatic gesture that was admired by the Surrealists when they came upon his drawings. Within the immense body of works by Hugo, drawing can be seen as being complementary to his writing or even an extension of his penmanship. Both creative endeavors touch upon the major themes found in Hugo's literature as well as the ideas he expressed throughout, whether social, political, philosophical or regarding his personal struggles. In the end, these two sides of his creation meet and intertwine. Baudelaire suggested as much by saying that, “The magnificent imagination that flows throughout the drawings of Victor Hugo is like the mystery up in the sky. I speak of his drawings in Indian ink, for it is too obvious that our author is the king of landscapes in poetry. Indeed, both literature and drawing arise on the same support, paper, and in same medium, ink. The pen of a writer becomes the tool of an artist. ” Our ink drawing was made when Hugo was in political exile following the coup d'état of Napoleon III and the start of the Second Empire. The writer sojourned on the Channel Islands from 1852 to 1870. Many of his drawings date from this period and feature fantastical mystical forms that were inspired by the coastline and architecture of the archipelago. From 1852 to 1855, Victor Hugo lived on Jersey, where he chose to forever capture the chapel of a castle in ruins called L'Ermitage and whose name the composition carries as a title. It hails from the aesthetics of Romantic landscapes which the writer had enjoyed along the Rhine valley a few years earlier, and is also marked by the Black Paintings of Goya, whose imagination nurtured Hugo's work. The tones and rather dark areas arranged on the sheet make for a very expressive, tormented work. The chapel echoes the trend of ruins as a motif, which gained full significance with the development of Romanticism across Europe since the end of the 18th century, as an object of meditation and aesthetic contemplation. It might also provide a metaphor of societal drifts and shifts. Hugo's drawings are to be regarded as autonomous works of art which should be presented framed, as suggested by the mount that surrounds L'Ermitage and that was made in Hugo's lifetime. It bears a written dedication by Hugo to Dr. Terrier, to whom he gave the ink drawing as a thank you for the care administered to his daughter Adele, who suffered from depression and was recovering. L'Ermitage has remained in the family since then, and those few written words complete this precious artwork with a very intimate touch that makes this ink drawing a gateway to the private life of a great man who maintained close family ties. MY PURCHASE ORDERS SALE INFO TERMS OF SALE RETURN TO CATALOG HÔTEL DES VENTES DE NEUILLY 164 bis avenue Charles de Gaulle - 92200 Neuilly sur Seine Tel: 01 47 45 55 55 - Fax: 01 47 45 54 31 HÔTEL DES VENTES DE LYON BROTTEAUX 13, bis place Jules Ferry - 69 006 Lyon Tel: 04 37 24 24 24 - Fax: 04 37 24 24 25 Legal notices Newsletter General conditions Create alerts