Signed center right: Joseph Stella

Montra Internazionale d'Art Sacro, Rome, Italy. 1933; The Newark Museum, Newark, New Jersey, "Joseph Stella - A Retrospective Exhibition," April-November 1939; Art Department, Drew University, Madison, New Jersey, "Joseph Stella Exhibition," February 24-March 25, 1963; L. Bamberger's Department Store, Newark, New Jersey, "Art in America Exhibit," November 20-December 30 1967; University At Gallery, Rutgers University, New Brunswich, New Jersey, "Exhibition of Paintings & Drawings by Joseph Stella," October 3-November 1, 1970; The Newark Museum, Newark, New Jersey, "The Works of Joseph Stella," November 1-March 30, 1979; The Whitney Museum of American Art, New York, "Joseph Stella," April 22-October 9, 1994.

The artist; Acquired by the present owner from the above, 1940.

Joseph Stella (American, 1877-1946) The Creche (The Holy Manger), circa 1929-33 Oil on canvas 60 x 77 inches (152.4 x 195.6 cm) Signed center right: Joseph Stella Property of The Newark Museum of Art, Sold to Support Museum Collections PROVENANCE: The artist; Acquired by The Newark Museum of Art from the above, 1940. EXHIBITED: Montra Internazionale d'Art Sacro, Rome, Italy, 1933; The Newark Museum, Newark, New Jersey, "Joseph Stella - A Retrospective Exhibition," April-November 1939; Art Department, Drew University, Madison, New Jersey, "Joseph Stella Exhibition," February 24-March 25, 1963; L. Bamberger's Department Store, Newark, New Jersey, "Art in America Exhibit," November 20-December 30, 1967; University At Gallery, Rutgers University, New Brunswick, New Jersey, "Exhibition of Paintings & Drawings by Joseph Stella," October 3-November 1, 1970; The Newark Museum, Newark, New Jersey, "The Works of Joseph Stella," November 1-March 30, 1979; The Whitney Museum of American Art, New York, "Joseph Stella," April 22-October 9, 1994. LITERATURE: The Newark Museum, Newark, New Jersey, Joseph Stella - A Retrospective Exhibition, exhibition catalogue, 1939, no. 17, illustrated; I.B. Jaffe, Joseph Stella, Cambridge, 1970, p. 100, illustrated; I.B. Jaffe, Joseph Stella's Symbolism, San Francisco, California, 1994, p. 81, no. 31, illustrated; B. Haskell, Joseph Stella, New York, 1994, p. 172, no. 202, illustrated; Joseph Stella: Visionary Nature, 2023. Joseph Stella's La Crèche, completed in Italy by 1933, represents a remarkable fusion of artistic styles, religious iconography, and cultural influences, making it a key work in the canon of American Modernism. This nativity scene departs from tradition by incorporating Stella's Modernist sensibilities, shaped by his Italian American background and fascination with religious and folk traditions. The result is a Symbolist masterwork that integrates elements of American Regionalism, highlighting Stella's ability to blend Modernist techniques into emotionally resonant and visually captivating compositions. Stella, an Italian-born American artist, was a prominent figure in American Modernism. Best known for his depictions of New York City's industrial atmosphere—such as his Brooklyn Bridge series—Stella's work often juxtaposed urban modernity against themes of spirituality and nature. This duality is evident in La Crèche, where religious subject matter is treated with a blend of traditional and modern sensibilities. Stella painted La Crèche during a transitional period in his career, after returning to Italy in the late 1920s for inspiration from its landscapes, religious art, and folk traditions. The painting reflects his renewed connection to his Italian roots, especially through the religious iconography and community-centered composition. One of several religious subjects Stella painted throughout his career, La Crèche portrays the Virgin Mary, Joseph, and the infant Christ at the center of a congregation of Italian villagers. The figures are set within an intricately adorned grotto, rendered in rich impasto that evokes the tactile quality of a Wayne Thiebaud cake painting. This lush treatment reflects the deep religious traditions of rural Italy, where crèche displays were significant and accessible forms of folk art. The arrangement, with richly adorned figures resembling marionettes, hints at Stella's fascination with the sacred and performative aspects of religious rituals. The villagers, painted more naturalistically, engage directly with the viewer, suggesting the universality of the nativity event. Although the subject matter is traditional, the painting's synthesis of old and new approaches reflects both the context of its creation and Stella's unique style. Flattened forms, bold colors, and strong outlines echo Italian Renaissance art, while the soft pastels of the landscape contrast with the vibrant hues of the figures' clothing, creating harmony and balance. The luminous quality of the painting, especially in the depiction of the holy figures, evokes divine light and spiritual presence, reminiscent of Renaissance tempera works where abstraction and mood were prioritized over naturalism. Stella's treatment of nature in La Crèche—with stylized hills, surreal purple rock formations, and delicate trees surrounding the grotto—introduces Modernist abstraction reminiscent of spiritually charged landscapes from the Taos School, as well as the Transcendental Painting Group founded in 1938 by Modernists Raymond Jonson and Emil Bisttram. This abstraction elevates the scene beyond mere representation, creating a mystical atmosphere that reflects both the nativity's sacred mystery and the artist's personal spirituality. These stylistic choices reveal Stella's exposure to European Modernism and the American avant-garde, and his skill in integrating these influences into his work. The tension between traditional folk-art elements and Modernist treatments of form, space, and setting is a hallmark of Stella's finest work. In La Crèche, this tension creates dynamic interplay between the sacred and the mundane, the traditional and the modern. The inclusion of both ordinary villagers and divine figures speaks to broader themes of duality, signaling the connection between the sacred and secular, the divine and human. The present work can also be seen as a celebration of Italian religious traditions, particularly those associated with Christmas and the nativity. The tradition of elaborate nativity displays, or presepi, is deeply ingrained in Italian folk culture, especially in regions like Campania, where such scenes incorporate local customs. By situating the nativity within a landscape populated by everyday people, Stella underscores the connection between the sacred and the secular. His decision to paint the holy figures in vibrant colors and stylized forms, contrasting with the naturalism of the surrounding villagers, reflects his synthesis of Catholic tradition and Modernist expression. La Crèche also speaks to the dualistic experience of Italian immigrants in the United States, who balanced their cultural and religious traditions with life in a modern, industrialized society. The painting mirrors this tension between tradition and modernity, serving as a meditation on the immigrant's experience of reconciling heritage with progress. In the broader context of American Modernism, La Crèche holds a significant place for its exploration of identity, heritage, and spirituality. It resonates with works like Marsden Hartley's Portrait of a German Officer (1914), which blends personal, cultural, and symbolic references. Like Hartley, Stella uses modernist techniques to explore his heritage and spiritual beliefs. His work also anticipates later efforts by artists such as Jacob Lawrence, whose Migration Series (1940-41) similarly uses Modernist aesthetics to tell cultural narratives. Like Lawrence, Stella fuses personal and cultural elements within a Modernist framework. Moreover, the painting challenges traditional distinctions between high art and folk traditions. While its composition and color palette evoke Southern Italian crèche displays, the Modernist treatment of space, light, and form situates La Crèche within avant-garde discourse. This fusion reflects Stella's lifelong interest in integrating popular and folk traditions into Modernism, a theme later explored by American Regionalists like Thomas Hart Benton, who depicted folk traditions through a Modernist lens. La Crèche stands as a pivotal work in American Modernism, exemplifying Joseph Stella's masterful ability to blend diverse artistic influences—Symbolism, Cubism, and Precisionism—into a composition that is both visually striking and emotionally profound. The painting not only reflects Stella's deep connection to his Italian heritage and religious roots, but it also expands the discourse of Modernism by challenging traditional notions of style, subject matter, and cultural identity. Through his synthesis of Modernist techniques with sacred themes and folk traditions, Stella created a piece that transcends time, resonating with a spiritual power while firmly rooted in the avant-garde. La Crèche embodies the tension between tradition and innovation, the sacred and the secular, making it a timeless reflection of both the immigrant experience and the evolving identity of American art. HID12401132022 © 2024 Heritage Auctions | All Rights Reserved

The present work is accompanied by a condition and treatment report from RALPH AUGSBURGER STUDIO, LLC dated October 11, 2024. Framed Dimensions 68.5 X 84.5 Inches