Joseph SIMA (1891-1971) Plaine de Brie 1950. Triptych of three oils on canvas in the same frame, monogrammed or signed and dated lower right. Bids on this lot are subject to a €1,500 deposit to be paid on our website, in the Payment, Online Advance section. On the back: Carrier's label Lemoine Pérignon et Cie Paysage de Brie, 1950, n°95 Label from the Sima exhibition in Ratilly in 1973, Mme Faux collection, n° 2,3,4 Label from the Musée d'Art Moderne de la Ville de Paris, 2 April - 21 June 1992, Mme Monique Faux. Label in biros: Madame Thiénot Faux. 33 x 24 cm each canvas Dimensions of the three works: 33 x 72 cmProvenance: Former collection of Mme Monique Faux-Thiénot, then by descent.Exhibitions: 1/"Joseph Sima" Roger Gilbert-Lecomte, René Daumal, Musée des Beaux-Arts, Reims, January-February 1963, described under no. 11.2/"Joseph Sima Obrazy a Kresby", (Fifty years of modern Czechoslovak art) Nàrodni galerie v Praze, Praha-Brno-Bratislava 1968, described under page 42 and reproduced under no. 85 (pláñ v Brie (triptych), 1950 and reproduced.3/Hommage à Joseph Sima" Château de Ratilly, 23 June - 16 September 1973, described in the catalogue under no. 2.4/"Joseph Sima 1891-1971" Museum Bochum 9.XI.1974 - 5.I.1975, described under n° 36, page 61.5/"Sima" Musée National d'Art Moderne Paris, 3 April - 21 June 1992, reproduced and described under n° 63, pages 116-117.6/"Joseph Sima" Jana Sàlkovà, Nàrodni galerie v Praze, Musée National d'Art Moderne de la ville de Paris, 1992, described under n° 155, pages 29-30. Monique Faux (1924-1997) did much to promote the work of Joseph Sima. She discovered his work for the first time in 1955 in Paris at the Galerie Kléber and from 1959 invited Sima to exhibit in various galleries in France, Italy and Czechoslovakia. Since then, she has followed and ardently encouraged his work. She curated several of Sima's retrospective exhibitions and played an important role in the recognition and promotion of his work, especially after his death. Through her involvement in the artistic community, she acted as an intermediary between Sima's work and the public, fostering greater recognition of his artistic contribution. In particular, she wrote the chronology of his artistic career for several exhibition catalogues. She also helped to document and archive Sima's work, providing a better understanding of his artistic development and his role in the European avant-garde. Although she is well known in the cultural world as an artistic adviser to the Ministry of Culture on urban planning, notably on the Axe majeur de Cergy-Pontoise, she was also very active as an art critic and historian. In addition to Joseph Sima, she has also curated exhibitions by other artists such as Henri Michaux, Jacques Villon, Geneviève Asse, Serge Charchoune and Arpad Szenes, mainly for the Musée de Reims. The 1950 Plaine de Brie that we are presenting in this sale comes from his collection. This work is part of the large series of landscapes of Brie that Joseph Sima began in 1950. It has the particularity of being conceived as a triptych, like a variation on this research in light, subtle tones. The sky and clouds still take up two-thirds of the canvas in relation to the earth, a proportion that would tend to be considerably reduced in his pictorial research. (See the work sold by us on 26 January 2025). The great supple and sensitive poetry that emerges from this work tends to make us think that it has a primordial place in the work of Joseph Sima. Its presence on numerous occasions in exhibitions on the artist in Paris, Reims, Prague, Ratilly, etc. is excellent proof of this. In the catalogue of the Sima exhibition at the Musée d'Art Moderne e Del Ville de Paris in 1992, Lise Brisson says of our triptych in her scientific note opening the section on the plains of Brie on page 113: "Sima uses the particularities of each medium - canvas, oriental paper and chantoung - and each format combined, from miniature to altarpiece painting. The plain, sacralised, unfolds in the flaps of a tryptic, Plaine de Brie 1950 (private collection number 63), escapes from the enclosure to continue to spread its tangles outside the field of the canvas like a score modulated into a fugue reminiscent of the musicality of Klee's watercolours."