Подпись "Soutine" внизу справа.
Выставки:
Чикаго, Arts Club, Paintings by Chaim Soutine, 1935, № 17.
Бостон, Institute of Modern Art, Two Russians: Chagall and Soutine, 1945, № 32.
Нью-Йорк, The Museum of Modern Art, New Acquisitions, 1948, № 16.
Нью-Йорк, The Museum of Modern Art; Cleveland, The Cleveland Museum of Art
& Seattle, The Henry Art Gallery, Chaim Soutine, 1951, иллюстрация в каталоге.
Венеция, XXVI Biennale Internazionale d'Arte, 1952. № 12.
Нью-Йорк, Hirschl and Adler Galleries, Soutine and His Circle in Paris, 1958, № 4.
Лондон, Tate Gallery &Edinburgh, Arts Festival, Chaim Soutine, 1963, № 36,
цветная иллюстрация в каталоге.
Нью-Йорк, The Solomon R. Guggenheim Museum, Van Gogh and Expressionism, 1964.
Лос-Анджелес, Los Angeles County Museum of Art, Chaim Soutine: 1893-1943, 1968,
№ 71, иллюстрация в каталоге.
Мюнстер, Westfälisches Landesmuseum für Kunst und Kulturgeschichte; Tübingen, Kunsthalle &London, Hayward Gallery, Chaim Soutine, 1981-82, № 66, цветная иллюстрация в каталоге.
Литература:
Pierre Drieu la Rochelle, Formes, Париж, май 1930, рис. 6, иллюстрация (название The Cock).
Paintings and Sculpture in the Museum of Modern Art, The Museum of Modern Art,
Нью-Йорк, 1948, no. 702, иллюстрация.
"A Study of Soutine," Times Literary Supplement, Лондон, май 4, 1951, стр. 270.
Giulia Veronesi, Emporium, Бергамо, июль - август 1952, иллюстрация стр. 50.
Paolo D'Ancona, Some Aspects of Expressionism, 1957, цветная иллюстрация стр. 61
Edith Hoffman, Burlington Magazine, Лондон, август 1958, стр. 296.
Cordelia Oliver, Manchester Guardian, Манчестер, октябрь 1, 1963, рассмотрена.
D. Hall, Apollo, Лондон, октябрь 1963, стр. 310.
David Irwin, "Edinburgh," Burlington Magazine, Лондон, октябрь 1963, рис. 41,
иллюстрация стр. 464.
David Sylvester, Art News, Нью-Йорк, октябрь 1963, рис. 3, иллюстрация стр. 23.
G. Brett, Manchester Guardian, Манчестер, октябрь 1, 1963.
Andrew Forge, Soutine, Лондон, 1965, № 29, цветная иллюстрация стр. 41.
David R. Shirey, Newsweek, Нью-Йорк, February 26, 1968, p. 58
Cecil Roth, Encyclopedia Judaica, Иерусалим, 1971, иллюстрация.
Pierre Courthion, Soutine: Peintre du déchirant, Париж, 1972, цветная иллюстрация стр. 75.
и иллюстрация стр. 247H.
Marie Marevna, Life with the Painters of La Ruche, Нью-Йорк, 1972, иллюстрация вст. 15.
Alfred Werner, Chaim Soutine, Нью-Йорк, 1977, рис. 72, иллюстрация стр. 59.
E. Mai, Pantheon, Munich, Winter 1982, p. 64.
Lynne Cooke, Burlington Magazine, Лондон, октябрь 1982, стр. 647.
Avram Kampf, Jewish Experience in the Art of the Twentieth Century, Массачусетс,
1984, № 80, иллюстрация стр. 92.
Billy Klüver &Julie Martin, Kiki's Paris: Artists and Lovers, 1900 1930, Нью-Йорк, 1989,
рис. 6, иллюстрация стр. 149.
Simon Schama, "Gut Feeling," The New Yorker, Нью-Йорк, май 25, 1998, стр. 112-118.
Maurice Tuchman, Esti Dunow &Klaus Perls, Chaim Soutine, 1893-1943.
Catalogue Raisonné, т. I, Кельн, 1993, № 67, цветная иллюстрация стр. 431.
CATALOGUE NOTE
Soutine's paintings, known for their textural bravura and focus on unlikely themes,
astounded his contemporaries. Whether he was depicting blue-collar workers, local
monuments or dead animals, his ability to uncover the magnetism of vernacular
subjects set him apart. The butchered fowl painted in the present work exemplifies the
unexpected visual appeal that Soutine could reveal in such an unusual subject. Soutine
is unflinching in his pictorial investigation of the carcass, illuminating the meat as it
hangs limply in the darkened abattoir. The raw brutality of La Dinde pendue has an
undeniably visceral impact on the viewer, and Soutine's fearless exploration of this
subject places it along a continuum with the great memento mori pictures of Chardin
and the Dutch artists of the northern Renaissance. In fact, this painting, along with his
other powerful still lifes, would ultimately inspire contemporary artists such as Francis
Bacon and Damien Hirst.
The first owner of this picture was Baron Shigetaro Fukushima (1895-1960), one of the
earliest collectors of European modernist art in Japan. Born in Tokyo in 1895, Baron
Fukushima visited Paris for the first time in 1923 and shortly after his arrival made his
first purchase of a French painting, a Renoir landscape. He acquired the present work
shortly thereafter. In addition to this picture and others by Soutine, the collection
numbered over one hundred works great European modernists including Picasso,
Derain, Rouault, Matisse, Chagall and Modigliani. After returning to Japan in 1933,
Fukushima was obliged to sell some of his prized works from time to time to
supplement his business activities. It was under these circumstances that the work was
acquired, through the dealer Jos Hessel, by Madeleine Castaing and her husband
Marcellin. The Castaings were close friends with Soutine through the 1930s and
financially supported him after the death of his dealer in 1932. It was around that time
that they probably sold this work to the New Jersey-based philanthropists Lloyd Bruce
and Barbara Wescott, who eventually exchanged it for another picture at the Museum
of Modern Art. MoMA later sold this picture to the investor Richard Zeisler, whose
impressive collection was bequeathed to 16 major institutions upon his death, including
the Museum of Modern Art.