ALIX AYMÉ (1894-1989)

Lot 19
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Estimation :
80000 - 120000 EUR
Result with fees
Result : 101 400EUR
ALIX AYMÉ (1894-1989)
Le goûter. Dans l'atelier de l'artiste, Hanoi, circa 1940 Ink, watercolor and gouache on silk, signed lower right.The work is presented in the mount card with gold highlights painted under the glass, realized by the artist 50 x 75,5 cm by sight - 19 x 29 in. by sight Student of Maurice Denis, with whom she corresponded throughout her career, Alix Aymé conceived a passion for the Asian continent on her first trip there with her husband, when he was sent on a mission to China by the French government. She then spent over twenty years travelling in Laos, Cambodia and Vietnam. Appointed professor at the Fine Arts School of Hanoi, she contributed to the revival of lacquer work with Inguimberty. Her works reflect the style of both the Nabis (a great influence on her) and traditional Vietnamese painting, for which she developed a deep affection Trained by the nabi artist Maurice Denis, Alix Aymé embodies the fusion of Asian and European influences. Although she exhibited in French salons from the beginning of her career, it was not until the Colonial Exhibition of 1931 that her work really came to the attention of an informed public. During the 1930s, she joined the Indochina School of Fine Arts where she taught in the painting and drawing section and participated in the revival of lacquer art. In parallel to her teaching activity, Alix Aymé produces and expresses her artistic talent through numerous creations on different supports. Among them, silk is a medium that the artist loves. Requiring great dexterity because of its fragility and the impossibility of repainting, silk belongs to the typically Asian supports. The technique allowing to use ink and colors on silk is developed and taught within the School. Alix Aymé brings to this process her talent as a colorist. Thus, in The Snack, the artist uses a colorful and joyful palette. Yellow, blue, pink and green are skillfully combined and bring cheerfulness to the composition. Inspired by the native models around her but also by the objects in her studio, she immortalizes an enchanting vision of Indochina. Sketching regularly in her notebooks, she depicts here directly from nature. The curtains and this window provide an indicator of her living room, while the little sleeping cat and the bouquet of flowers are recurring elements. While the main work was made in Hanoi in the years 1935-1940, as evidenced by the type of silk used, the framed decoration painted under glass was created by the artist afterwards, probably in France in the 1960s. Using a Cézanne perspective and a faithful representation of still life, Alix Aymé illustrates her know-how and captures the languor of a moment. The realization of the frame with gold powder shows a particular attachment to this silk with a masterly format.
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