House at OisËme, ca. 1934
Oil on board; 26 x 26 13/16 in.; 66 x 68 cm
Private Collection, New York
A beautiful example of Soutine's later landscapes, House of OisËme bears the imprint of Soutine's preoccupation with traditional French landscape painting by artists such as Courbet and Corot. The dramatic brushwork and the stark contrast between the whiteness of the house and the darkness of the surrounding landscape, are typical of Soutine's work at this time.
Page Boy at Maxim's, ca. 1925
Oil on canvas; 51 x 26 in.; 129.5 x 66 cm
Albright-Knox Art Gallery, Buffalo, New York
Edmund Hayes Fund, 1939
Between 1925 and 1929, Soutine painted a variety of uniformed workers at nightclubs and hotels. Perhaps both the dominant colors of the uniforms--red in the case of the page boys-- and an interest in social types compelled Soutine to paint this series. However, his precise rendering of personality, expressed, for example, in the insolent gaze of this page boy eager for his tip, imbues each portrait with a sense of the individual.
View of CÈret, ca. 1920-21
Oil on canvas; 21 1/4 x 28 3/4 in.; 54 x 73 cm
Sara Lee Corporation
The wild, expressionistic brushstrokes, skewed perspective, and vivid colors dominating View of CÈret imbue the landscape with a sense of turbulent energy. Soutine spent three years, beginning in 1919, living and working in CÈret in the French Pyrennes; the paintings produced there are among his most radical and avant-garde.
Hanging Turkey, ca. 1925
Oil on canvas; 36 x 28 1/2 in.; 91.4 x 72.4 cm
Richard S. Zeisler Collection, New York
Soutine's Hanging Turkey is another single image taken from a series of works by the artist. Throughout his career, Soutine painted still lifes of slaughtered animals that combine gruesome and pathetic subject matter with the sensual beauty of his palette and painting technique. Some critics have suggested that Soutine's fascination with animal carcasses is related to his early years in Lithuania and Paris when he was haunted by poverty and hunger.