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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Dec 2, 2016 | Koller Auktionen | Zurich | Auktion | 3209 | $****** - ****** | Le bal populaire |
paintings
34 x 42 cm (13.39 x 16.54 in)
Oil on canvas
Signed lower right 'Raoul Dufy'
Provenance: Collection Gustave Coquiot, Paris. Galerie Charpentier, Paris December 1959. Private collection, Switzerland.Exhibition: Milan 1969, Galleria del Milione, no. 4 (with ill.). Lafaille, Maurice: Raoul Dufy. Catalogue Raisonné de l'oeuvre peint de 1895 à 1915, 1972, vol. I, no. 244 (with ill.).Raoul Dufy's fauvistic work Le bal populaire is a feast of colour and form expressed in a language which was new at the time and this fine painting is therefore very significant. It shows, both in its subject and its technique, the decisive moment in the history of art in which the pioneer Raoul Dufy found himself. The works of the Fauves exhibited in the 1905 Salon d'Automne had greatly impressed the young painter. After his training at the École des Beaux-Arts du Havre he began to explore new, non-academic ways of artistic expression. He was introduced to the fauvist style of painting, particularly by this friend Albert Marquet. Both spent the summer of 1906 in Le Havre, Trouville and Honfleur.In Le Havre they celebrated the French National Day, 14 July. Each started a small series of paintings on this theme, which was very well suited to the fauvist language of form and colour. The famous Rue pavoisée paintings depict the day's festivities in Le Havre. These works thus form the high point of Dufy's examination of this important, expressionistic art movement. We see couples dancing in a public garden. The trees of the park coil wildly towards the sky and the national flags clatter. Behind the branches are hints of the variously coloured contours of the musicians in a medium-sized orchestra, and in the foreground we see a person drinking wine at a table, observing the dancers. We see many other artistically important influences, which will intensify even further in the coming years and will cause Dufy to finally move away from Fauvism. We recognise the flow and composition of Cézanne. There are also elements, which will shortly emerge from this artistic discourse and lead from 1907 to Cubism. Particular segments of the picture consciously subvert the academic perspective. So for example the table, the seated figure, and the dancers are to be seen from independent perspectives. This lends the whole picture a pulsating effect, while the composition is not without harmony, this also being a characteristic of the much celebrated works of Cezanne from the same years. The entire setting mirrors the dance, the music and the diversity of colour, and so conveys the festivity and joy of that moment. It is symbolic of the joy which the young painter must have felt, to be able to express himself in this new style
