Audio: Raoul Dufy's Le casino de Sainte-Adresse au pêcheur
Raoul Dufy (1877-1953)
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VAT rate of 5% is payable on hammer price and at 2… Read more Property from The Museum of Modern Art, New York, Sold to Benefit the Acquisitions Fund
Raoul Dufy (1877-1953)

Le casino de Sainte-Adresse au pêcheur

Raoul Dufy (1877-1953)
Le casino de Sainte-Adresse au pêcheur
oil on canvas
34 7/8 x 45 5/8 in. (88.5 x 116 cm.)
Painted circa 1912
Anonymous sale, Hôtel Drouot, 18 June, 1925, lot 28.
Henri Kapferer, Paris, by whom probably acquired at the above sale.
Entrusted for safe-keeping to the Musées nationaux, Câteau de Brissac on 19 September 1939.
Confiscated by the Einsatzstab Reichsleiter Rosenberg and transferred to the Jeau de Paume, Paris on 14 August 1941 (ERR no. KAP 5).
Restituted to Henri Kapferer by the Commision de la Récuperation Artistique on 17 October 1945.
Perls Galleries, New York.
Mr & Mrs Peter A. Rübel, Connecticut & New York, by whom acquired from the above in 1953.
The Museum of Modern Art, New York, a gift from the above in 1953.
M. Laffaille, Raoul Dufy, Catalogue raisonné de l'oeuvre peint, vol. I, Geneva, 1972, no. 320 (illustrated p. 265).
Nassau County Museum of Art, Roslyn Harbour, New York, Normandy and its Artist's, a 50th Anniversary, June - September 1994 (illustrated p. 24).
West Palm Beach, Norton Museum of Art, Raoul Dufy, Last of the Fauves, March - June 1999, no. 18 (illustrated p. 29).
Special notice

VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

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Cornelia Svedman
Cornelia Svedman

Lot Essay

In 1910 Raoul Dufy returned to Sainte-Adresse, the town on the Normandy coast whose buildings, cliffs and water had inspired his major transition in 1905-1906 from Impressionism to the bright colours and bold outlines of his Fauve manner. Now, Dufy turned anew to the familiar sights of this seaside hamlet to work through another stylistic turning point in his career: his embrace of a cubist-inspired organisation of space and volume. Like many of his colleagues, the painter had found inspiration for this new direction at the Cézanne retrospective at the 1907 Salon d'Automne. The following year, he joined Braque at L'Estaque, and the two painters rendered the local trees and hillsides in rigorously juxtaposed, simplified planes. Commenting on Dufy's selective adoption of cubist methods, Dora Perez-Tibi stated: 'While Braque, like Picasso, was to take his experiments further, towards an almost hermetic analysis of forms - conveying their internal structures in an explosion of facets on the surface of the canvas, the source of the cubist aesthetic - Dufy would go on to rediscover the spirit of the older painter's method, and intensify his experiments with the expressive possibilities of space that Cézanne's aesthetic offered to him' (in Raoul Dufy, London, 1989, p. 37).

Le Casino de Sainte-Adresse au pêcheur spotlights Dufy's incorporation of cubist techniques into a distinctly personal style. In this work, a concentrated arrangement of houses and towers rises steeply from the bright blue ocean, above a foreground scene depicting a lone fisherman and a row of upturned boats in the lower right corner. Though the dense composition is largely free of perspective and relies on an architectonic structuring of space in superimposed planes, what distinguishes Dufy's work from that of Braque and Picasso is that he preserves the recognisable character of his forms. Here, Dufy also eschews the restricted palette of greens and ochres that he briefly adopted in 1908, applying instead intense Fauve colours to a system of staggered planes. His short, parallel brushstrokes lend a dynamic quality to the flat construction of geometrical forms, revealing his investigation of form and space in a brightly saturated, Cézanne-inspired variation of the cubist style that was closely related to, yet always distinct from mainstream Cubism.

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