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Student Artwork Guide

untitled (1693)

Name Class Date

Chaim Soutine, untitled (1693). Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Chaim Soutine wikioo.org/en/artists/chaim-soutine/
Artist’s dates
1894 – 1943

In context

untitled (1693) — Chaim Soutine

When might this have been painted?

  1. 1890
  2. 1900
  3. 1910
  4. 1920
  5. 1930
  6. 1940

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 49 at death.

Shaded: the lifetime of Chaim Soutine (1894–1943) every dated painting, decade by decade

First works: up to 1919 Main working years: 1919–1925 Late works: from 1925

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: wikioo.org/en/art/similar/chaim-soutine-untitled-1693-9GETG2-en/

Colours

Measured from the image

    Main colour

    Espresso #5d4a3e

    Catalogued palette

    • #5D4A3E
    • #A27544
    • #24282B
    • #DAB34F

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Espresso
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Balanced Harmony How well the colours work together, from clashing to fully unified.
    Brightness
    Balanced How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Chaim Soutine over the last twelve months — 8 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 69.4%
    2. 2 United States of America 10.2%
    3. 3 Italy 8.2%
    4. 4 Finland 4.1%
    5. 5 Argentina 2.0%
    6. 6 France 2.0%
    7. 7 Hong Kong 2.0%
    8. 8 Mexico 2.0%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Chaim Soutine

    1. 1 Return from School After the Storm 8.9%
    2. 2 Portrait of Emile Lejeune, 1925 7.1%
    3. 3 (Carcass of beef) Minneapolis Institute of Arts, 1926 7.1%
    4. 4 untitled (4171) 5.4%
    5. 5 The old mill 3.6%
    6. 6 Servant Girl in Blue, 1934 3.6%
    7. 7 untitled (3759) 3.6%
    8. 8 untitled (3714) 3.6%
    9. 9 untitled (5980) 3.6%
    10. 10 untitled (1693) this painting 3.6%
    11. 11 untitled (5106) 3.6%
    12. 12 untitled (2219) 3.6%
    13. 13 untitled (8701) 3.6%
    14. 14 Still Life with Fowl [Nature Morte à La Volaille], 1918 1.8%
    15. 15 Landscape at Céret [Paysage à Céret], 1922 1.8%
    16. 16 Hanging Duck, 1925 1.8%
    17. 17 Untitled (1411) 1.8%
    18. 18 Ceret Landscape, 1920 1.8%
    19. 19 Self Portrait by Curtain, 1917 1.8%
    20. 20 Self Portrait with Beard, 1917 1.8%

    Together these works take 73.5% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 71 works by this artist, of which 35 were looked at at least once. This painting ranks 10 of them, with 3.6% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Chaim Soutine

    Born in Smilovichi, Russia

    A Life Forged in Turmoil: The World of Chaim Soutine

    Born into a large, impoverished Jewish family in Smilovichi, Russia (present-day Belarus) in 1893, Chaim Soutine’s early life was steeped in hardship. This formative experience—a childhood marked by both material scarcity and the restrictions imposed upon his Orthodox community—would profoundly shape his artistic vision. Though figural representation was discouraged within his religious upbringing, a nascent talent for drawing blossomed nonetheless, hinting at the passionate intensity that would come to define his work. He received formal training at an art academy in Vilna (now Vilnius, Lithuania) from 1910 to 1913, but it was his emigration to Paris in 1913 that proved truly pivotal. Enrolling at the École des Beaux-Arts under Fernand Cormon, Soutine found himself amidst a vibrant artistic community, yet he remained largely outside of prevailing trends, forging a path uniquely his own. His initial years in Paris were characterized by extreme poverty, a struggle that mirrored the emotional turbulence simmering beneath the surface of his canvases.

    An Expressionist Apart: Style and Influences

    While often categorized as an Expressionist, to label Soutine solely within this framework feels limiting. His style was profoundly individual, a compelling synthesis of traditional European painting—particularly the Dutch Masters like Rembrandt and Chardin, and the Realism of Courbet—filtered through a lens of raw emotional intensity. He didn’t simply mimic these masters; he absorbed their techniques and compositional strategies, then violently reinterpreted them to convey his own inner world. Bold colors, applied with thick impasto – a textured application of paint that gives his surfaces a palpable physicality – and agitated brushwork are hallmarks of his style. Soutine wasn’t interested in precise representation; he sought to capture the emotional essence of his subjects, often imbuing them with a sense of unease or psychological tension. Landscapes, portraits, and still lifes became his preferred vehicles for this exploration, recurring themes like food and animals reflecting both personal experiences and his Jewish heritage. These weren’t merely depictions; they were visceral expressions of feeling, painted with an almost desperate energy.

    Development and Defining Works

    Soutine's artistic development unfolded through distinct periods, each marked by unique stylistic explorations. The early Parisian years (1913-1917) saw him grappling with his voice amidst financial hardship. The period spent in Céret between 1919 and 1922 proved crucial. It was here, surrounded by the dramatic landscapes of southern France, that he produced many of his most celebrated works. These paintings are characterized by vibrant colors, distorted forms, and a sense of almost violent energy. Trees, cliffs, and fields become swirling masses of paint, reflecting not just what Soutine saw but how he felt in their presence. His portraits, too, stand apart for their psychological depth. He often depicted working-class individuals with a raw honesty that challenged conventional portraiture, revealing the dignity and vulnerability of his subjects. Similarly, his still lifes—arrangements of food and objects—convey a sense of vitality, but also an unsettling energy, as if even inanimate objects are imbued with life and emotion. Notable works from this period include studies related to “The Dance of Life,” alongside numerous landscapes capturing the essence of Céret, and poignant portraits of Russian émigrés in Paris.

    Recognition, Legacy, and Lasting Impact

    Soutine was a key figure within the School of Paris, a diverse group of artists working in the city during the early 20th century. However, his path to recognition wasn’t straightforward. The art dealer Leopold Zborowski played an instrumental role in promoting Soutine's work and securing his financial stability, recognizing the unique power of his vision. Initial critical reception was mixed, but his reputation grew steadily over time. His expressive use of paint and emotional intensity profoundly influenced later artists, including Willem de Kooning and Francis Bacon, who saw in Soutine a kindred spirit—an artist willing to push the boundaries of representation in pursuit of authentic expression. Today, Chaim Soutine is rightfully recognized as a major figure in Expressionism and a significant contributor to 20th-century art. His works are held in prestigious museums worldwide, testaments to his enduring legacy. He represents a crucial bridge between traditional European painting techniques and the emerging forms of Abstract Expressionism, prioritizing emotional expression over objective representation and developing an artistic voice that transcended typical Expressionist concerns. His innovative style paved the way for future generations of artists seeking to explore the depths of human emotion through the power of paint.

    Where to read more

    Find this online

    QR code linking to the download page for untitled (1693)

    wikioo.org/en/art/download/chaim-soutine-untitled-1693-9GETG2-en/

    Cite this artwork

    MLA
    Soutine, Chaim. untitled (1693). n.d., https://wikioo.org/en/art/chaim-soutine-untitled-1693-9GETG2-en/
    APA
    Soutine, Chaim (n.d.). untitled (1693) [Painting]. https://wikioo.org/en/art/chaim-soutine-untitled-1693-9GETG2-en/
    Chicago
    Chaim Soutine. untitled (1693). n.d. https://wikioo.org/en/art/chaim-soutine-untitled-1693-9GETG2-en/
    Harvard
    Soutine, Chaim (n.d.) untitled (1693). Available at: https://wikioo.org/en/art/chaim-soutine-untitled-1693-9GETG2-en/

    Look closely

    untitled (1693) — Chaim Soutine

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Hanging Duck (1925), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. What might the artist have wanted you to feel?
    5. If you could ask the artist one question about this work, what would it be?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Is a high-resolution download of "untitled (1693)" available?

    "untitled (1693)" is available as a high-resolution digital image download, purchased directly on this page.

    Does "untitled (1693)" show strong light-dark contrasts?

    The light-dark contrast of "untitled (1693)" is recorded as statement. Contrast describes how strongly light and dark areas differ.

    Can the image of "untitled (1693)" by Chaim Soutine be freely reproduced?

    Regarding copyright, "untitled (1693)" is in the public domain - its copyright has expired.

    Where can I download "untitled (1693)" by Chaim Soutine?

    A download is available for "untitled (1693)": the artwork's Download page offers a high-resolution digital image download.

    What is the dominant hue of "untitled (1693)" by Chaim Soutine?

    "untitled (1693)" leans toward an ochre to sepia tone.

    Does "untitled (1693)" by Chaim Soutine use strong contrasts or soft harmonies?

    In "untitled (1693)", a statement contrast is paired with a balanced harmony harmony.

    Which artist is "untitled (1693)" attributed to?

    The artist behind "untitled (1693)" is Chaim Soutine. The work is catalogued under Chaim Soutine's name.

    How do I discover artworks close to "untitled (1693)" by Chaim Soutine?

    Artworks similar to "untitled (1693)" by Chaim Soutine are gathered on the artwork's Similars page.