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Jules Emile ZINGG (1882-1942) - Harvest Scene in Franche Comté
Jules Emile ZINGG (1882-1942) - Harvest Scene in Franche Comté - Paintings & Drawings Style Jules Emile ZINGG (1882-1942) - Harvest Scene in Franche Comté -
Ref : 75805
14 500 €   -   SALE PENDING
Period :
20th century
Artist :
Jules Emile ZINGG (1882-1942)
Provenance :
France
Medium :
Oil on canvas
Dimensions :
L. 39.37 inch X H. 31.89 inch
Paintings & Drawings  - Jules Emile ZINGG (1882-1942) - Harvest Scene in Franche Comté 20th century - Jules Emile ZINGG (1882-1942) - Harvest Scene in Franche Comté
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Impressionist and Modern Paintings, Ecole Normande


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Jules Emile ZINGG (1882-1942) - Harvest Scene in Franche Comté

Jules Emile ZINGG (1882-1942)
Harvest Scene in Franche Comté
Oil on canvas
Dimensions: 81 x 100 cm
Signed lower right
Perfect condition and framed

Jules-Emile Zingg was born in Montbéliard on August 25, 1882.
Zingg is above all Franc-Comtois, a man of rigor and will. When he paints, it is through what he sees that his painting evolves, but the profound nature of man does not change. On the other hand, the time factor constantly affects its concepts, whether in the countryside, in solitude and in the heat of the action, or in Paris in discussions between artists, critics or amateurs.
1912 is a year of rupture in the sense that Zingg becomes aware of "another painting" than that which he practiced under the authority of Cormon at the Ecole des Beaux-Arts in Paris, and who from 1906 to 1913 was punctuated by large paintings.
The openness to the Impressionists (whom Cormon took for jokers) through the donation Camondo bequeathed to the Louvre, especially through Cézanne, Van Gogh and Gauguin will be gradually determining.
He then enthusiastically undertakes a hard work of research on small formats, which allows him to quickly renew experiences of color, harmony, mastery of the touch and synthesis.
The stays in Franche-Comté 1912 (Raynans), 1913 (Belvoir), 1914 (Etobon), interrupted by the declaration of war, are part of the same state of mind.
That of 1915 is marked by Nabis concerns, because it was preceded by his stay in Brittany where he met Maurice Denis.
From November 1915 to the end of 1916, again in Brittany and Paris, more and more distressed by the loss of his best friends painters, who died in the war, he must make an effort to convince himself of the usefulness of art (... I hope better days to undertake important works - letter to Pastor Mathiod).
In early 1917, he left as a volunteer with Vuillard, as an Army painter on the Eastern Front. It is there paradoxically, by sharing the dangerous life of the combatants, that his painting finds a new vigor.
Soon after this mission, he joined Auvergne in July where his wife was waiting for him in Contournât with his two children in. Six months of important stay that confirms its evolution.
In 1918 he returned to Brittany where he was preparing his first exhibition at the Druet gallery in Paris in November 1918. This exhibition reveals a new orientation of his plastic language, inks of china, watercolors and paintings, which participate in his period called " Japanese ".
Zingg will not find Franche-Comté until 1919, at Etobon, the village he left five years ago shortly after the declaration of war. This new stay of 3 months invites him to pay a tribute to the country that promised him so much.
In 1919 - 1920, he made long stays in Paris. He works in the workshop of large canvases. Decorative period, then constructive. He wondered: Should we paint memories so as to avoid this crowd of useless things that solicits the gaze ... Do not let yourself be dominated by nature, this mistress that we enjoy and is constantly changing.
The second stay in Auvergne began in July 1921. He moved to Saint Saturnin and will stay seven months in the region. He affirms, following the workshop work undertaken in Paris, a strong and voluntary bill with the characteristic size that will mark his work. He is now solving his questions in the wilderness action.
In 1924, he began his third trip to Auvergne, a colorful period, sometimes bordering on abstraction.
The year 1925 will be a long hike where he will plant the easel in Burgundy at harvest time, then settle in the region of Ornans and spend the autumn and winter in the Vosges in Alsace.
In 1926 - 1927, Zingg bought the house of his parents-in-law in Abbeville and had a workshop built. He has often worked in Picardy and the Somme Bay, revealing a subtle quality of light that acts on his palette.
To be more exhaustive, one would have to mention other stays such as the Midi of France in Saint Tropez in 1931, the Alps, the surrealist writer Ribemont Dessaigne, and Italy where he found Derain in 1934.
In 1935, he bought a house in the French Vexin where for more than five years he worked a lot. His house overlooks the hills of the Valley of the Epte and the clay plateaus and grown in large expanses of cereals.
What must be remembered above all, whatever the places where he has painted, is the presence of man in his work, whose acts are linked in a succession of well decomposed attitudes. Zingg indicates each of his gestures with a frank and sure brush, shot after stroke. He found a rhythm, a rhythm to express the mobility of the peasant scenes. He sees more "uncluttered" canvases because he feels that the painting must be facing the show, an adventure for itself and a witness of its time. After 1935, he will return each winter in the Jura a good month to find the snow. He will write to a collector friend: There are Zingg everywhere, only you have to do them.

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20th Century Oil Painting