RENÉ AUBERJONOIS (1872 Lausanne 1957) Nature morte en bleu et rouge. 1907. Oil on board. Signed and dated lower left: René A. 07. 29 × 24.5 cm. Provenance: - Sale Störi, Zurich, 30.3.1928, no. 6. - Private collection, Switzerland, acquired at the above auction. - Thence by descent. Exhibited: Basel 1908, Nationale Kunstausstellung der Schweiz, Kunsthalle und Stadtkasino Basel, 6 Aug. - 27 Sept. 1908. no. 15 or 16, as "nat. morte en bleu et rouge" (label verso). Literature: Hans Trog: Von der nationalen Kunstausstellung in Basel II, in: Neue Zürcher Zeitung, no. 232, 21 August 1908. Hugo Wagner: René Auberjonois. L'œuvre peint, Lausanne 1987, p. 324, no. 93 (with ill.). ------------------------------------------------- RENÉ AUBERJONOIS (1872 Lausanne 1957) Nature morte en bleu et rouge. 1907. Oil on card. Signed and dated lower left: René A. 07. 29 × 24.5 cm. Provenance: - Auction Störi, Zurich, 30 March 1928, no. 6. - Swiss private collection, acquired at the above auction. - By succession to the present owner. Exhibition: Basel 1908, National Art Exhibition of Switzerland, Kunsthalle and Stadtkasino Basel, 6 Aug. - 27 Sept. 1908. no. 15 or 16, as "nat. morte en bleu et rouge" (label on verso). Literature: Hans Trog: Von der nationalen Kunstausstellung in Basel II, in: Neue Zürcher Zeitung, no. 232, 21 August 1908. Hugo Wagner: René Auberjonois. L'œuvre peint, Lausanne 1987, p. 324, no. 93 (with illus.). This painting by René Aubejonois dates from the time the painter spent in Jouxtens. Marriage and the birth of two sons prevented the artist from travelling to Paris. Auberjonois, who was unable to find models in either Jouxtens or Lausanne, was frustrated and was forced to paint still lifes again and again. The painting is composed of the three primary colours red, yellow and blue. The red of the fuchsias, the intense yellow of the rectangular box and the dark blue of the vase combine to form a powerful "chord", as Hans Trog noted in the NZZ as early as 1908. The dominant colours are complemented by the fresh green of the flower petals and the white of the tablecloth. Around 1907, inspired by Cuno Amiet's monogram, Auberjonois adapted the A of his own name abbreviation to the round A of his new friend and role model. René Aubejonois met Amiet and his childhood friend Giovanni Giacometti in Bern in 1906 and was fascinated by their "artistic means of expression". He began to adopt the technique of the Neo-Impressionists and to give his colour palette a lighter and pastel-like character