" Joaquim Gasquet, the friend of Cézanne, and Louis Vauxcelles, the inventor of the neologism the" fauves ", are enthusiastic and register Favory in the line of Rubens and Cézanne" (Michel Charzat, La Jeune Peinture Française)
André Favory was born in 1889 from a Parisian industrial father. After studying at the Janson-de-Sailly high school, he continued his apprenticeship in the family business until he left for military service in 1910. His first works were cubist, inspired by Gleizes and De La Fresnaye. In 1913, self-taught, he enrolled at the Julian Academy. In November, Galerie Malpel is organizing his first exhibition. After the war, the experience of the trenches profoundly changed his conception of art. He then moved away from the Cubist movement, which he considered too intellectual, to get closer to the carnal aspects of nature and life. He asked Derain for advice, who encouraged him to give free rein to his temperament. What he did at the Salon des Indépendants in 1920 with Les Baigneuses a composition with flamboyant lyricism. Joaquim Gasquet, Cézanne's friend, and Louis Vauxcelles, the inventor of the "fauves" neologism, are enthusiastic and register Favory in the line of Rubens and Cézanne.
He is a friend of André Lhote with whom he spends the summer of 1920 at Bissière's in Lot-et-Garonne. He made frequent trips to Belgium to study the work of Rubens, who therefore exerted a decisive influence on him. He exhibited in Brussels from 1921.
In 1925, his Nude in the umbrella was the highlight of the Salon des Tuileries
Become a master of color, Favory now paints landscapes with warm tones, voluptuous nudes and very sensual female portraits. He exhibits regularly in large salons (Salon d'Automne in 1921-1923, Salon des Tuileries in 1923-1924, etc.). During the 1920s, Favory's works were exhibited in numerous galleries in Paris and Brussels, as well as in London, Amsterdam, New York and Tokyo. For critics as influential as Louis Vauxcelles, he was a major artist of his generation.
In 1925, his Nude with the parasol was the highlight of the Salon des Tuileries. In Paris, locomotives from the Roaring Twenties - Arletty, Louise Weiss, Yves Mirande - ensured its reputation. Antwerp, Zurich, Rome, London, New York followed. The omen of criticism, Waldemar George, ignites: "Favory, I totally admire him." Every Wednesday, he receives amateurs and friends - Friesz, Braque, La Patellière, Kisling - in his workshop at the Villa des Camélias in Montparnasse.
At the same time, he worked as an illustrator, for works such as Poems of Sad Humour by Jules Supervielle (1919), a reissue of L'Éducation sentimentale by Gustave Flaubert (1924), Ouvert la nuit by Paul Morand (1924 ), Le Jeu de la “Madame Malade” by Maurice Beaubourg (1926), or Drugs and paintings, François Quelvée's contemporary art album (undated).
Suffering from a serious and disabling illness, he had to stop painting in the early 1930s, and died in 1937.
Center Georges Pompidou, National Museum of Modern Art, Paris
André Favory has often been admired as the painter of women. Great critics, notably Louis Vauxelles, Roger Marx, Edmond Jaloux and even André Lhote, have praised his work, alas stopped by the disease at the age of forty. Linked to the bright colors of Fauvism, several of his works are now on display in museums in Brussels, Grenoble, Le Havre, Moscow, Oslo, Riga, Stockholm, the National Museum of Modern Art in Paris and in prestigious collections.
Paris (dont Galerie Marcel Bernheim, 1923)
Librairie Gallimard."André Favory, Les peintres français nouveaux". No 27.1926.In-16 (125x162mm). Broché, sous couverture ornée d'une vignette.63pp.Texte d'Edmond JALOUX. Avec des reproductions dans le texte, contrecollées et 20 planches hors-texte, sur beau papier couché