Raoul Dufy

Raoul Dufy (French: [ʁa.ul dy.fi]; 3 June 1877 – 23 March 1953) was a French Fauvist painter, brother of Jean Dufy. He developed a colorful, decorative style that became fashionable for designs of ceramics and textiles, as well as decorative schemes for public buildings. He is noted for scenes of open-air social events. He was also a draftsman, printmaker, book illustrator, Scenic designer, a designer of furniture, and a planner of public spaces.

Biography

Raoul Dufy was born into a large family at Le Havre, in Normandy. He left school at the age of fourteen to work in a coffee-importing company. In 1895, when he was 18, he started taking evening classes in art at Le Havre's École des Beaux-Arts (municipal art school). The classes were taught by Charles Lhuillier, who had been, forty years earlier, a student of the French portrait-painter, Ingres. There, Dufy met Raymond Lecourt and Othon Friesz with whom he later shared a studio in Montmartre and to whom he remained a lifelong friend. During this period, Dufy painted mostly Norman landscapes in watercolors.

In 1900, after a year of military service, Raoul Dufy won a scholarship to the École nationale supérieure des Beaux-Arts in Paris, where again he crossed paths with Othon Friesz. (He was there when Georges Braque also was studying.) He concentrated on improving his drawing skills. The impressionist landscape painters, such as Claude Monet and Camille Pissarro, influenced Dufy profoundly. His first exhibition (at the Exhibition of French Artists) took place in 1901. Introduced to Berthe Weill in 1902, Dufy showed his work in her gallery. Then he exhibited again in 1903 at the Salon des Independants. A boost to his confidence: the painter, Maurice Denis, bought one of his paintings. Dufy continued to paint, often in the vicinity of Le Havre, and, in particular, on the beach at Sainte-Adresse, made famous by Eugène Boudin and Claude Monet. In 1904, with his friend, Albert Marquet, he worked in Fecamp on the English Channel (La Manche).

Raoul Dufy, Regatta at Cowes, (1934), Washington, D.C. National Gallery of Art.

Henri Matisse's Luxe, Calme et Volupté, which Dufy saw at the Salon des Indépendants in 1905, was a revelation to the young artist, and it directed his interests towards Fauvism. Les Fauves (the wild beasts) emphasized bright color and bold contours in their work. Dufy's painting reflected this aesthetic until about 1909, when contact with the work of Paul Cézanne led him to adopt a somewhat subtler technique. It was not until 1920, however, after he had flirted briefly with yet another style, cubism, that Dufy developed his own distinctive approach. It involved skeletal structures, arranged with foreshortened perspective, and the use of thin washes of color applied quickly, in a manner that came to be known as stenographic.

Dufy's cheerful oils and watercolors depict events of the time period, including yachting scenes, sparkling views of the French Riviera, chic parties, and musical events. The optimistic, fashionably decorative, and illustrative nature of much of his work has meant that his output has been less highly valued critically than the works of artists who have addressed a wider range of social concerns.

Dufy completed one of the largest paintings ever contemplated, a huge and immensely popular ode to electricity, the fresco La Fée Electricité for the 1937 Exposition Internationale in Paris.

Dufy also acquired a reputation as an illustrator and as a commercial artist. He painted murals for public buildings; he also produced a huge number of tapestries and ceramic designs. His plates appear in books by Guillaume Apollinaire, Stéphane Mallarmé, and André Gide.

Sketch (1918) by Dufy for a Charvet silk square, Centre Pompidou

In 1909, Raoul Dufy was commissioned by Paul Poiret to design stationery for the house, and after 1912^[1] designed textile patterns for Bianchini-Ferier used in Poiret's^[2] and Charvet's^[3] garments.

In the late 1940s and early 1950s Dufy exhibited at the annual Salon des Tuileries in Paris. By 1950, his hands were struck with rheumatoid arthritis and his ability to paint diminished, as he has to fasten the brush to his hand. In April he went to Boston to undergo an experimental treatment with cortisone and corticotropin, based on the work of Philip S. Hench. It proved successful, and some of his next works were dedicated to the doctors and researchers in the United States.^[4][5] In 1952 he received the grand prize for painting in the 26th Venice Biennale. Dufy died at Forcalquier, France, on 23 March 1953, of intestinal bleeding, which is a likely result of his continuous treatment. He was buried near Matisse in the Cimiez Monastery Cemetery in Cimiez, a suburb of the city of Nice.

Public collections

Among the public collections holding works by Raoul Dufy are:

• Museum de Fundatie, Zwolle, The Netherlands
• Van Abbemuseum

Works

Wikimedia Commons has media related to Raoul Dufy.

• Hommage à Mozart, (Web Gallery Private Art Collection)
• Le 14 juillet au Havre, rue pavoisée, (1906, Web Gallery Private Art Collection)
• French modern art exhibition 1939 treasure 3 National Library of Latvia displayed via The European Library
• Works by Raoul Dufy (public domain in Canada)
• Raoul Dufy's artworks in context, Museum of modern art André Malraux

Illustrations

• Jean Cocteau, Bertrand Guégan (1892-1943); L'almanach de Cocagne pour l'an 1920-1922, Dédié aux vrais Gourmands Et aux Francs Buveurs^[6]

Notes

Fauvism Leaders Henri Matisse André Derain Others Georges Braque Charles Camoin Kees van Dongen Raoul Dufy Othon Friesz Henri Manguin Albert Marquet Jean Metzinger Jean Puy Georges Rouault Louis Valtat Maurice de Vlaminck Paintings Luxe, Calme et Volupté Le bonheur de vivre The Open Window Landscape at Collioure Les toits de Collioure Blue Nude (Souvenir de Biskra) Green Stripe Paysage coloré aux oiseaux aquatique Woman with a Hat Influences Paul Cézanne Paul Gauguin Vincent van Gogh Gustave Moreau (teacher) Georges Seurat Paul Signac Neo-impressionism Pointillism Salon d'Automne 1905 exhibit Influenced Die Brücke Neo-Fauvism See also Louis Vauxcelles (critic)

Avant-garde movements Visual art Abstract expressionism Art Nouveau Conceptual art Cubism Proto-Cubism Cubo-Futurism De Stijl Devětsil Divisionism Ego-Futurism Fauvism Impressionism Neo-Impressionism Post-Impressionism Color Field Lyrical Abstraction Incoherents Minimalism Mail art Neue Slowenische Kunst Nonconformism Pop art Rayonism Suprematism Vorticism Nouveau réalisme Music Aleatoric music Ars subtilior Atonal music Avant-garde jazz Avant-garde metal Avant-prog Drone music Electroacoustic music Electronic music Experimental pop Experimental rock Free jazz Futurism (music) Industrial music Krautrock Microtonal music Minimal music Musique concrète New Complexity No wave Noise music Post-rock Progressive rock Rock in Opposition Second Viennese School Serialism Spectral music Stochastic music Textural music Totalism Twelve-tone technique Literature and poetry Acmeist poetry Angry Penguins Asemic writing Cyberpunk Experimental literature Flarf poetry Hungry generation Imaginism Language poets Neoteric Oberiu Oulipo Ultraísmo Visual poetry Nouveau roman Cinema and theatre Cinéma pur Dogme 95 Drop Art Epic theatre Remodernist film Structural film Theatre of the Absurd Theatre of Cruelty General Bauhaus Dada Expressionism Fluxus Futurism Lettrism Modernism Minimalism Postminimalism Neo-minimalism Neo-Dada Neoism Postmodernism Late modernism Primitivism Russian Futurism Russian symbolism Situationist International Social realism Socialist realism Surrealism Symbolism Book