In 1910, Chaïm Soutine (1893-1943), in the shtetl of Smilavičy, in present-day Belarus, asked a fellow villager to pose for a portrait. Such graven images were considered a heresy in the shtetl ...

Soutine had a long-standing obsession with meat, which emerged, he said, from seeing a goose beheaded as a child (the happiness on the butcher’s face made him stifle his scream).

Soutine’s relation to flesh and sensuality was more complicated and haunted. De Kooning’s fleshy pinks and comically hideous nudes are not Soutine’s bloody reds and hanging carcasses.

Willem de Kooning’s ‘Composition’ (1955), center, and Chaïm Soutine’s ‘View of the Village’ (c. 1921), right Photo: The Barnes Foundation, Philadelphia ...

There is little stylistic development in Chaim Soutine's work: He began as an Expressionist (albeit one cognizant of Cubist space and composition) and ended as one. And, as an Expressionist, he ...

Soutine is an out-pourer of strong feeling perhaps, but also a concerned paint technician. He left no record of his motivation for this series but it was clearly a way for him to investigate ...

Chaim Soutine’s identity was never integral to his art, even as a Jew whose death Nazis caused. Artists in Gaza, Syria and Ukraine share his universality.

Soutine was reverent about little aside from art, but it’s unlikely that in adopting the cast of religious martyrdom for slaughtered chickens and turkeys, he intended to insult the church.

Christie’s New York rang up $158.5 million in sales of Impressionist and modern art last night in a brisk yet lackluster auction. The tally surpassed the presale low target of $131.4 million but ...