A vantage point still unchanged over one hundred years later...

{HISTORY}

In 1910, when celebrated Parisian artist, Maurice Utrillo (1883-1955) painted Rue des Abbesses he captured the energetic rooflines and the arresting shapes that dominated this one particular vantage point along the street. Little did he know then, that his interpretation of this cityscape would virtually go unchanged for the next 100 years. In the 1950s the only "new" alteration to the is scene was the addition of a painted Coca-Cola sign in the blank grey panel above the multi-colored modular building. at the center of the street. In 2013, this rue still looks exactly the same (see a modern-day photo taken in 2013 included for reference here too). 

There is something magical about being able to stand in the same spot where a painting was captured and still be able to see exactly the same buildings that the artist, so long ago saw too. Rue des Abbesses was not one of Maurice's most prominent paintings but it is a stunner in its own right. With its bright but earthy color palette and its engaging composition, Maurice thought the painting to be rather ugly when he finished it, but his mother Suzanne Verdon, also a painter herself, declared it memorable. She consistently railed against the idea that paintings of Paris had to only show the pretty side, the sugary sweet, the romantic sides of Paris.  Montmarte was a city full of all kinds of character and in the artistic and working-class neighborhoods of the city, real life with its real dirt and grime, sunlight and shadows, beauty and horror mingled every day. Suzanne applauded Maurice's bravery in capturing the true essence of the city as he saw them, not through any lens veiled in make-believe light. 

Afflicted by alcoholism and mental illness throughout most of his life, Maurice's work evokes sensitivity in a matter-of-fact way. His style wonderfully captures the internal struggles all humans face of trying to balance lightness with darkness, childhood whimsy with adult practicality, happiness with melancholy, simplicity with intricacy. That combination of opposites, which appears in almost every single one of his paintings is what has elevated his work to genius status and made him one of the most celebrated artists of the 20th century. 

In 1953, New York art book publisher Harry N. Abrams produced large-size folios of Utrillo's work for their Art Treasures of the World Series. We rescued 16 of the prints that appeared in this collection from a folio that was falling apart and on the verge of collapse. Luckily all the prints survived unscathed and can continue to be enjoyed for years to come. Printed on heavier card stock each painting print can be lifted on edge to reveal underneath the painting's name, the date it was originally created, and the collection in which the original is held (as of 1953).

 {SPECIAL FEATURES}

- Colors include rust, terracotta, dove blue, grey, pine, slate, black, brown, butternut, red, orange, munt, and clay. 

{CONDITION}

In lovely vintage condition. One side contains a ragged edge where it was salvaged from its dilapidated folio.  This condition issue can easily be covered should you choose to frame this print. 

{SIZE}

Measures 11" inches (width) x 14.5" inches (length)

{FOR THE ART LOVER}

Look for more of Maurice Utrillo's work here.