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).
Text source: A Dictionary of Modern and Contemporary Art (Oxford University Press)