Amédée Ozenfant

Glasses and Bottles

c.1922–6

Artist
Amédée Ozenfant 1886–1966
Original title
Verres et bouteilles
Medium
Oil paint on canvas
Dimensions
Support: 727 x 603 mm
frame: 905 x 784 x 60 mm
Collection
Tate
Acquisition
Purchased 1962
Reference
T00551

Not on display

Display caption

Ozenfant co-founded a style of painting known as purism, which applied the principles of classical proportion to products of the machine age. The fluting of the bottles in this painting recalls classical columns, and is echoed in the various neighbouring forms. These rhythmic relationships create a harmonious unity, which embodies Ozenfant’s belief that order gives rise to aesthetic experience. He wrote, ‘The highest delectation of the human mind is the perception of order, and the greatest human satisfaction is the feeling of collaboration or participation in this order’.

Gallery label, April 2012

Catalogue entry

Amédée Ozenfant 1886-1966

T00551 Verres et Bouteilles (Glasses and Bottles) c.1922-6

Inscribed 'Ozenfant' b.r.
Oil on canvas, 28 5/8 x 23 3/4 (72.5 x 60.5)
Purchased at Sotheby's (Grant-in-Aid) 1962
Prov: With Léonce Rosenberg, Paris (Galerie de l'Effort Moderne); Dr John Joseph Wardell Power, Jersey, Channel Islands; Power sale, Sotheby's, London, 7 November 1962, lot 43 repr. as 'Nature morte: bouteilles'
Exh: Art and the Machine, University of East Anglia Library, Norwich, November-December 1968 (24, repr.)
Repr: Bulletin de 'L'Effort Moderne', No.27, July 1926, between pp.4 and 5 as 'Verres et Bouteilles 1926'; The Ivory Hammer: The Year at Sotheby's 219th Season 1962-3 (London 1963), p.81

The artist wrote (9 April 1963) that this work appears in his own catalogue as No.30 'Glasses and Bottles' and was sold by him to Léonce Rosenberg on 15 June 1926; he had no record of it ever having been exhibited. No.30B in the catalogue is a related picture 'Glasses and Bottles in Blue' 1922-6 (also repr. in Bulletin de 'L'Effort Moderne', No.27) which is the same size as this work, but has smaller bottles with more space around them and is different in colour. He thought it probable that the Tate Gallery picture was started at about the same time, around 1922, and finished and signed in 1926.

The related picture, which now belongs to Dr and Mrs Leonard Slotover in London, is predominantly pale blue, pale grey and creamy white.

Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.579, reproduced p.579


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