LHOTE (André) (1885–1962). - Lot 258

LHOTE (André) (1885–1962). French Cubist painter, art theorist, printmaker, and illustrator. A leading figure in Cubism, he was also an influential art critic and a renowned educator. Autograph letter signed “André Lhote” to the essayist and critic Pierre Abraham (1892–1974). No place [Paris], November 2, 1934. 2 pages, in-4 format, in black ink, on a sheet of cream-colored paper. Original creases and two filing holes. An interesting letter devoted to his reflections on pictorial composition, his involvement with the *Nouvelle Revue française* (NRF), and the preparation of an exhibition at the Druet Gallery. André Lhote has just received contracts regarding the writing of articles and immediately points out an error concerning the topic assigned to him: “It states that I am writing about color technique, whereas it was understood that I was to discuss the composition of a painting. What should I do with these papers?” The artist then discusses the constraints imposed by publication deadlines and his particularly busy schedule. He objects to a deadline he considers too strict: “We talked about the 15th, but not in such a precise and tyrannical sense.” While he wishes to honor his commitments to the NRF, he refuses to compromise the preparation of his upcoming exhibition at the Druet Gallery, scheduled for around November 20. “I’ve already started working, but I need to obtain reproductions and make very time-consuming sketches; I can’t say for certain that I’ll be ready by the 15th.” He therefore requests an extension, while emphasizing that he will continue his work diligently: “That way, we’ll both be certain to avoid a possible failure.” Finally, he asks his correspondent to prioritize written correspondence over phone calls, in order to maintain his concentration. This letter offers a firsthand account of André Lhote’s dual role as both painter and theorist, as well as the importance he placed on questions of composition and the transmission of his artistic principles. It is particularly noteworthy for the distinction he draws between color technique and the composition of the painting—two essential aspects of his teaching and his reflections on modern painting. It also documents his relationships with the Parisian publishing world and the preparation of his exhibitions in the 1930s. Condition: Good overall condition. Folding creases from filing, two marginal perforations, slight signs of handling. Text is complete and the signature is clearly legible.

Estimate:£125.57

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