French painter, born and active in Paris. Although virtually forgotten today, Favory was in his day much admired by critics, including Louis *Vauxcelles, as a painter who had found a way out of *Cubism while being strengthened by it. In practice this meant a compromise between Cubist angularity and a certain sensuality in the treatment of the nude. The latter element subsequently dominated, as Favory absorbed the influence of *Renoir and of Rubens (whose paintings he saw on a trip to Belgium in 1922).
Self-Portrait with Blond Woman (1924, Pompidou Centre, Paris) leaves little doubt as to the painter's own preferences, the two figures being seen from behind to emphasize the artist's caressing of the female form. His final years were blighted by a crippling illness which prevented him from painting.
Text Source: The Oxford Dictionary of Art and Artists (Oxford University Press)
