Oil on canvas "finette" , Circa 1925 and signed lower left
Dimensions: Height 54 x Width 65 cm
Victor Charreton was born in 1864 in Isère. After studying law in Grenoble, he decided in 1902 to devote himself to his passion, painting. He moved to Paris, and will undertake until 1913 many trips to capture the lights of very different landscapes, from Algeria to Holland, through Spain, England and Belgium.
Charreton is a self-taught and modernist painter. His art is unique, unclassifiable. He will develop his own techniques and his own supports. In his landscapes, color dominates the drawing which is quickly sketched in pencil on the naked canvas. He paints on the pattern, without preparation, and practices painting "in reserves", which reveals the support of which he uses the color. The material, most often oil paint, is applied directly with a knife or a brush, and the chromatic juxtapositions he makes are frank and bold.
The power of Charreton's works is comparable to the fauvist works created by Matisse or Derain at the time Victor Charreton settled in Paris. Auvergne, Brittany, Provence are the subjects that will remain dear to him all his life.
Our painting represents a sunny landscape of the Creuse after the first snowfalls. Charreton's snow subjects are those that have reached the highest prices. Born in the Alps, and in love with the Massif Central, Charreton excels in this representation. It is a painting entitled "La Neige" which is in the Musée d'Orsay. As often, Charreton left certain parts of the sky "in reserve", that is to say unpainted; he uses the color of the support itself as a background and uses it to give more volume to the painted parts which, in opposition, are treated with a very thick, almost sculpted material. The support is the finette that Charreton developed in order to make the color as pure as possible. On this subject, Robert Chatin wrote:
LA FINETTE: In 1923 Charreton discovered "la finette". It is a cotton fabric whose reverse side is made fluffy by a scraping process. It is the fluffy side that is used as a support for the pigments... Always in search of a better result, Charreton constantly researched and experimented with processes that could reduce the disadvantages of oils...". It is better not to mix anything with the color: oil is too much". The "finette" support meets this concern. Having noticed the absorption of oil by the "finette" weave, Charreton immediately imagines the benefit to be gained from this "blotting effect": the pigments freed of their vector will be in a pure state and the quality of their tones will not suffer from the alteration of the oils that carry them. Seventy years later, the validity of Charreton's hypothesis is demonstrated: the pigments have retained the intensity and native freshness of their tones.
Works by Victor Charreton exhibited in Museums:
Paris, Musée d'Orsay and Petit Palais
New York City
16 000 €
Price : on request