Editing Chaïm Soutine (section)

=== Céret ===
Soutine lived for several years in [[Le Midi]], initially between [[Vence]] and [[Cagnes-sur-Mer]]; he then abandoned the French Riviera for the [[Pyrénées-Orientales]] in 1919, specifically for [[Céret]]. Regardless of his frequent trips to Paris—particularly in October 1919 to obtain his identity card, mandatory for foreigners—he changed residences and studios several times.<ref>Nicoïdski 1993, <abbr>p.</abbr> 114–115.</ref> One of his places of residence was the Maison Laverny, 5 rue de l'hôpital (rue Pierre Rameil). There Soutine was nicknamed by the locals as "el pintre brut" ("the dirty painter"), due to his miserable living conditions on allowances from Zborowski.<ref>{{cite web|title=Chaïm Soutine|url=http://www.musee-ceret.com/mam/artiste.php?artiste=375|website=Musée d'art moderne de Ceret}}<!-- auto-translated by Module:CS1 translator --></ref>

During a visit to Le Midi, Zborowski wrote to a friend regarding Soutine: "He gets up at three in the morning, walks twenty kilometers loaded with canvases and colors to find a site he likes, and goes back to bed forgetting to eat. But he unfastens his canvas and, having spread it on the one from the day before, he falls asleep next to it" Soutine indeed only owned one canvas. The locals took pity at times and at times sympathized with the painter. Soutine painted portraits of the locals, in his works alluding to certain famous series such as those of men in prayer or pastry chefs and café boys, whom he represented facing forward, their working hands often disproportionately depicted. Between 1920 and 1922, he painted around 200 canvases there.<ref>{{harvsp|Nicoïdski|1993|p=128}}.</ref><ref>''Connaissance des Arts'', « Repères chronologiques », SFPA, hors-série No.&nbsp;341, 2007, {{p.|34}}.</ref><ref>{{harvsp|Renault|2012|p=64}}.</ref>

Although Soutine eventually grew to dislike the place and the works he created there, this period is generally considered a key stage in the evolution of his art. Soutine's art at the period is no longer hesitant; here, he "inject[ed] his own emotions into the subjects and figures of his paintings."<ref name="Jover 2007">Jover 2007, <abbr>p.</abbr> 20.</ref> Especially, he imparted extreme deformations to the landscapes, carrying them away in a "rotary movement" already perceived by Waldemar-George in still lifes:<ref name="Br45">{{harvsp|Breton|2007|p=45}}.</ref> under the pressure of internal forces that seem to compress them, the forms spring forth twisting, and the masses rise "as if caught in a maelstrom" as described by Jover.<ref name="Jover 2007"/>

==== Carcass paintings ====
Soutine once horrified his neighbors by keeping an animal carcass in his studio so that he could paint it (''Carcass of Beef''). The stench drove them to send for the police, whom Soutine promptly lectured on the relative importance of art over hygiene. There is a story that [[Marc Chagall]] saw the blood from the carcass leak out onto the corridor outside Soutine's room, and rushed out screaming, "Someone has killed Soutine."<ref>{{cite book|title=Chagall - Love and Exile|first=Jackie|last= Wullschlager|publisher=Allen Lane|year=2008|isbn=978-0-7139-9652-4|page=154}}</ref> Soutine painted 10 works in this series, which have since become his most well-known. His carcass paintings such as ''[[The Flayed Ox]]'' were inspired by [[Rembrandt]]'s still life of the same subject, ''[[Slaughtered Ox]]'',  which he discovered while studying the [[Old Masters]] in the [[Louvre]].

Soutine produced the majority of his works from 1920 to 1929. From 1930 to 1935, the interior designer [[Madeleine Castaing]] and her husband welcomed him to their summer home, the mansion of [[Lèves]], becoming his [[patron]]s, so that Soutine could hold his first exhibition in [[Chicago]] in 1935. He seldom showed his works, but he did take part in the important exhibition ''The Origins and Development of International Independent Art'' held at the [[Galerie nationale du Jeu de Paume]] in 1937 in Paris, where he was at last hailed as a great painter.

==== Between Paris and Le Midi ====
By 1926, five of Soutine's paintings were sold at Drouot for amounts ranging from 10,000 to 22,000 francs.<ref name="CG1">{{harvsp|Giraudon|2012|p=35}}.</ref> However, this did not prevent him from boycotting the opening in June 1927 of the first exhibition of his works by Henri Bing in Bing's gallery on Rue La Boétie.<ref>{{harvsp|Breton|2007|p=50}}.</ref> On the other hand, he reportedly eagerly accepted the opportunity to create set designs for a ballet by Diaghilev—a project that never materialized due to the sudden death of the impresario in 1929.