ANDRÉ LHOTE | Portrait de Femme en Bleu
Gouache and Watercolour
38 x 25 cms / 15 x 9¾ inches
Signed A. Lhote. 48 (lower left)
Portrait de Femme en Bleu by André LHote is a striking synthesis of Cubist structure and vibrant colour. Painted in 1948, this portrait exemplifies LHote’s quest to balance geometric abstraction with human presence. The bold palette and rhythmic composition reflect his skill as both artist and theorist. A superb piece of Post-War French modernism.
Born in Bordeaux in 1885, André LHote was apprenticeship as a wood carver at a young age. He formally studied decorative sculpture at the École des Beaux-Arts in Bordeaux before shifting his focus to painting. During this period, he was profoundly influenced by Paul Cézanne and Paul Gauguin, whose structural compositions and colour theories shaped his early works. By the time he moved to Paris in 1906, he had already begun experimenting with Fauvist colourism before fully embracing Cubism by 1912.LHote quickly became an integral figure within the Cubist movement, joining the prestigious Section d’Or alongside artists such as Albert Gleizes, Jean Metzinger, and Marcel Duchamp. His work was exhibited at the Salon d’Automne, the Salon des Indépendants, and later at the Salon de la Section d’Or, where he established himself as a leading proponent of Cubism. His theoretical contributions were also significant—he co-founded the Nouvelle Revue Française and wrote extensively on art theory, reinforcing his role as both an artist and intellectual.Throughout his career, LHote’s work was widely exhibited in France and internationally. He lectured and taught extensively, not only in Paris but also in England, Belgium, Italy, Brazil, and Egypt. His dedication to education culminated in the founding of the Académie André Lhote in Montparnasse, where he mentored a generation of modern painters. His achievements were recognised in 1955 when he received the Grand Prix National de Peinture, further cementing his influence on twentieth century art.Marguerite Hayet served as both Lhote’s wife and a recurring subject in his paintings, a muse through whom he explored the evolution of his stylistic approach. Her presence in numerous works suggests that she was more than just a model; she was integral to his creative process. Lhote’s fascination with her form may have stemmed from a desire to refine his interpretation of the female figure within the Cubist framework. Through repeated depictions, he experimented with shifting perspectives, angular reconstructions, and an interplay of light and shadow that imbued each painting with a unique energy.
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