Montezin’s choice for paper as the primary support for this monumental piece enhances the effect of the different brushstrokes he employs to render the greenery in the background, the flowers in the vase and the cherries on the plate. Montezin is known to have used paper laid down on canvas as a support for many of his paintings. The paintings thus acquired a greater density without losing the spontaneous qualities of a loose brushstroke. Nature mort aux cerises is an excellent example of the successful employment of this difficult technique in combination with a wonderfully pleasing subject, resulting in a rare and attractive painting.
What makes this painting so unique are its colours. Most of Montezin’s paintings are done in more pasty palettes that lack the outspoken quality of this piece that immediately evokes the feeling of spring. The free and masterly brushwork splendidly renders the different textures of the tablecloth, the flowers, cherries, greenery, wooden chair, glass vase and cutlery. The composition is well chosen, loose, but with a clear sense of order and exciting perspective, making you want to look beyond the chair.
L. Darinot, Paris;
Sale of Catherine Charbonneaux, December 15, 2006, lot 17;?
Sale, Sotheby’s New York, May 9, 2007, lot 279;
Private collection, The Netherlands
Volhonka Fine Arts Center, November 2011 – February 2012, Moscow
Pierre Eugène Montezin rates among the best and most sought after Post-Impressionist masters. Born in Paris as the son of a lace draftsman, he was exposed to art and design at a young age and entered a decorative atelier where he learned the art of executing decorative murals. Shortly after becoming aware of the theories and techniques of the Impressionists, he took up a career as an in . . .