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拍品专文
After settling in Paris in 1899, Van Dongen had his artistic breakthrough in 1904 when he participated in the Salon des Indépendants. In that same year Van Dongen exposed at the Salon d'Automne, but his career really took off with his first solo-exhibition at Galerie Vollard, which was initiated by the influential art critic Félix Fénéon. Critics noted that Van Dongen painted in a passionate, dynamic way with vivid colours and free forms: a painting style full of raw emotionality and taking on the ideals and principles which he would subsequently share with the radical Fauve painters. Van Dongen always kept a fast and expressive way of painting, although the passionate and intense elements slowly became less.
In 1917 his new girlfriend Léa Jacob (called Jasmy) introduced him to the mondaine life of la folle epoque and introduced him into the new fashionable circle in Paris. Van Dongen's attitude towards his artistry changed from being revolutionary to being surrounded by the beau monde. Still he remained a spectator, even of the luxurious life he was surrounded with. Van Dongen's paintings captured the vivacity and gaiety of the early 1920s. "I passionately love the life of my time, so animated, so feverish" the artist said (see: D. Sutton, C.T.M. Van Dongen, University of Arizona, 1971, p. 46). Celebrated for his fashionable society portraits and views of resorts and European cities, van Dongen was privileged to be a prominent member of the society he portrayed, and the parties he threw were regularly reported in the press.
In the 1920s and 1930s Van Dongen often painted the elegance of the luxurious beach resorts Cannes and Deauville, where he spent his summers. The present lot shows the Boulevard de la Croisette in Cannes with palm trees seen towards the sea. A summer rain blows over Cannes and a cylist has to hold on to his umbrella. His reflection is visible on the rainy boulevard and the fresh colours of blue and green create a cheerful painting with bright, vivid colours and expressive forms.
To be included in the forthcoming Kees van Dongen catalogue
critique of paintings and drawings, being prepared by Jacques Chalom Des Cordes under the sponsorship of the Wildenstein Institute.
In 1917 his new girlfriend Léa Jacob (called Jasmy) introduced him to the mondaine life of la folle epoque and introduced him into the new fashionable circle in Paris. Van Dongen's attitude towards his artistry changed from being revolutionary to being surrounded by the beau monde. Still he remained a spectator, even of the luxurious life he was surrounded with. Van Dongen's paintings captured the vivacity and gaiety of the early 1920s. "I passionately love the life of my time, so animated, so feverish" the artist said (see: D. Sutton, C.T.M. Van Dongen, University of Arizona, 1971, p. 46). Celebrated for his fashionable society portraits and views of resorts and European cities, van Dongen was privileged to be a prominent member of the society he portrayed, and the parties he threw were regularly reported in the press.
In the 1920s and 1930s Van Dongen often painted the elegance of the luxurious beach resorts Cannes and Deauville, where he spent his summers. The present lot shows the Boulevard de la Croisette in Cannes with palm trees seen towards the sea. A summer rain blows over Cannes and a cylist has to hold on to his umbrella. His reflection is visible on the rainy boulevard and the fresh colours of blue and green create a cheerful painting with bright, vivid colours and expressive forms.
To be included in the forthcoming Kees van Dongen catalogue
critique of paintings and drawings, being prepared by Jacques Chalom Des Cordes under the sponsorship of the Wildenstein Institute.