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Inventaire # A20S-E18549-001

CAC RCA
1869 - 1937
Canadien

The Sun Bath (Wood Nymph / Bain de soleil)
pastel sur carte, 1926
signé et au verso titré et certifié par
16 x 11 1/2 po, 40.6 x 29.2 cm

PROVENANCE
Watson Art Galleries, Montreal
Galerie d'art Michel Bigué, Saint-Sauveur-des-Monts
Private Collection, Montreal

BIBLIOGRAPHIE
Jean René de Cotret, "Le Salon du Printemps," Le Canada, April 5, 1926, page 4
Laurier Lacroix, Suzor-Coté: Light and Matter, National Gallery of Canada and Musée du Québec, 2002, reproduced page 302 and listed page 351

EXPOSE
Art Association of Montreal, 43rd Spring Exhibition, 1926
Watson Art Galleries, Montreal, 1927, catalogue #28
Musée du Québec, Quebec City, Suzor-Coté, 1869 – 1937: Light and Matter, October 10, 2002 – January 5, 2003, traveling to the National Gallery of Canada, Ottawa, January 24 – May 11, 2003, catalogue #134


From 1915 on, the subject of nudes became an increasingly important part of Marc-Aurèle Suzor-Coté’s oeuvre. While training in Paris, Suzor-Coté took drawing classes with live models, and on his return to Montreal, he continued to work with nude models in his studio. Although clerical censorship in Quebec was an obstacle, Suzor-Coté succeeded in getting his nude studies accepted in annual art exhibitions. As the French sculptor Jean Chauvin declared in 1928, “There is nothing more beautiful, more noble or more educational than a living torso, a naked torso, without veil or covering.” The nude was a wonderful subject for Suzor-Coté’s pastels—their velvety soft qualities were perfect for skin tones, and in this sensuous work, the artist uses delicate pastel hues of flesh-pink, green and blue in the model’s body. Suzor-Coté often placed his figures in natural settings, and here his model revels in the warmth of the sun, and the softness of the air and the grass under her feet. In The Sun Bath, Suzor-Coté shows his superb handling of form in his use of languid lines and his expert modelling of the woman’s body.

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