A Villa on the Riviera (1920), John Lavery
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Exploring Sir John Lavery's Artistic Odyssey from Tangier to the Riviera
Sir John Lavery, renowned for his artistry, embarked on a unique journey in December 1919, fueled by a desire to escape the post-war era dominated by strife. Traditionally retreating to his Tangier haven during winter, this ritual, akin to 'washing the studio light from his eyes,' had been a source of solace during earlier, more prosperous portrait-focused years.
However, the onset of winter in 1919 brought about a shift. Lavery's North African sanctuary lost its charm, prompting visits to Marrakech and Fez. The decision was made to part with his bolt-hole overlooking the Straits of Gibraltar, opting to become a 'hivernant' on the picturesque Riviera.
Despite a delayed departure in December 1920 due to construction at his Cromwell Place residence, Lavery finally reached the Eden-Grand Hotel, Cap d’Ail, in February 1921. His relief and enthusiasm were palpable as he wrote to his daughter Eileen, describing the captivating landscapes, gardens, villas, and the sea in letters dated March 6 and 21, 1921.
Lavery's artistic endeavors flourished during tours of nearby villas, with the most striking example being the coastal masterpiece capturing the beautiful inlet of La Mala. Noteworthy is the moment in early April when his pupil, Winston Churchill, joined him.
One captivating villa was 'Villa Sylvia' on Cap Ferrat, initially believed to be the setting for "A Villa on the Riviera." However, a reevaluation in 1996 challenged this assumption. Lavery had not only visited Sylvia but also the grandiose 'Les Cèdres,' a hilltop estate acquired by King Leopold II of Belgium in 1904.
The historical tapestry unfolded further, encompassing Leopold's acquisition, his relationship with Blanche Zélie Josephine Delacroix, and the sale of both Les Cèdres and a property in Villefranche during the Versailles peace conference.
Lavery's access to these estates in the spring of 1921 was likely facilitated by Sir Ernest Cassel, a friend of both Lavery and Churchill. Cassel's potential purchase of a property on Cap Ferrat and his sudden death added a layer of intrigue to the narrative.
The subsequent exhibition journey of 'A Villa on the Riviera' showcased Lavery's mastery and unique approach. The painting, unveiled in 1925, was a mystery in the Leicester Galleries exhibition, delving into the private domains of notable figures. The canvas, capturing a rooftop terrace on Cap Ferrat, highlighted Lavery's departure from conventional architectural precision, showcasing a momentous blend of centuries.
In essence, Lavery's artistic odyssey, marked by personal connections, historical contexts, and a keen eye for fleeting moments, unfolds as a captivating tale that goes beyond the canvas—a testament to the entanglement of art, history, and the complexities of the human experience.
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