Lot n° 129
Estimation :
3000 - 5000
EUR
Result with fees
Result
: 6 144EUR
Joseph GRANIÉ (Toulouse, 1861- Paris, 1915) - Lot 129
Joseph GRANIÉ (Toulouse, 1861- Paris, 1915)
Portrait of Doctor Oulié, 1892
Canvas
Signed and dated lower right: "to my friend Doctor Oulié / GRANIÉ 92".
44,5 x 49 cm
Joseph Granié is the son of an upholsterer from Toulouse. After training in the workshop of Jules Garipuy at the municipal school of Fine Arts, he was a student of Gérome at the Beaux-Arts in Paris. A view of the Cluny museum, exhibited in 1880 for his second participation in the Salon, reveals an early taste for the Middle Ages. In 1892, he became a member of the new Société nationale des Beaux-Arts. His very meticulous works show him fascinated by the technique of the old masters, Holbein, Cranach or Dürer: for example, this Saint Francis of Assisi preaching to the little birds (Buenos Aires, National Museum of Fine Arts). Encouraged by the painter Ziem, he devoted himself to miniature painting, illuminating manuscripts on vellum, Bonhomme Misère, Histoire de Tessancourt... However, Granié lived with his time. His portrait of Yvette Guilbert, which he painted in 1895 on a gold background, contrasts in its preciousness with those of the singer painted by Toulouse-Lautrec, while that of the actress Marguerite Moreno, the muse of Symbolism, painted in 1899, was acquired by the Musée du Luxembourg at the instigation of the Minister of Fine Arts, Louis Leygues, another Toulouse native. In many respects, Granié's art is similar to symbolism, such as Le Baiser, a bewitching sapphic painting painted in 1900, or his drawn portraits which earned him comparisons to Fernand Khnopff.
We know very little about this doctor Oulié. Were it not for the inscription, the engraving after Rembrandt's Anatomy Lesson on the wall, and the insistent still life in the foreground, where a jar of Vaseline stands next to a spool of surgical thread and a bottle of alcohol, one would guess the profession of the model, interrupted in the writing of a prescription. This painting, one of Granié's most detailed, perfectly illustrates his subtle art: a sharp drawing with deliberate archaisms, colors chosen with extreme refinement, where the muted tones - gray, brown and black - are warmed by the coral glow of the curtain, evoking Vallotton's somewhat stifling interiors.
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