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拍品专文
Jacques Chalom des Cordes will include this painting in his forthcoming van Dongen catalogue raisonné being prepared under the sponsorship of the Wildenstein Institute.
Van Dongen's immersion in the glittering world of the Parisian beau monde led him to record the nightclubs, casinos and, as in the present work, racecourses of inter-war France. The elegance and glamour that informs these works stands in contrast to the harsher vision of his bohemian days before the First World War, where he had rubbed shoulders with la bande à Picasso.
'During the 1920s, Van Dongen became one of the most talked of figures in the French art world and it is only necessary to run through the volume of press cuttings belonging to Dolly Van Dongen [the artist's daughter] to be aware of the fact that his name was news. He was a frequent visitor to Deauville, where the smart world gathered, and to the cabarets and restaurants of Paris. What appealed to him about the années folles were their movement and gaiety. He once said: "I passionately love the life of my time, so animated, so feverish. Ah! Life is even more beautiful than painting"' (see D. Sutton, exh. cat. Cornelis Theodorus Maris Van Dongen (1877-1968), Arizona, 1971, p. 46).
Situated at the doorway of Cannes, between the superb Esterel hills and the Tanneron, Mandelieu was a popular destination on the Côte d'Azur for wealthy Parisians. It was in the nineteenth-century that Mandelieu began to earn its name as a holiday resort, thanks in large part to the golf course that had been built there by an entrepreneurial scion of the Romanov dynasty.
Van Dongen's immersion in the glittering world of the Parisian beau monde led him to record the nightclubs, casinos and, as in the present work, racecourses of inter-war France. The elegance and glamour that informs these works stands in contrast to the harsher vision of his bohemian days before the First World War, where he had rubbed shoulders with la bande à Picasso.
'During the 1920s, Van Dongen became one of the most talked of figures in the French art world and it is only necessary to run through the volume of press cuttings belonging to Dolly Van Dongen [the artist's daughter] to be aware of the fact that his name was news. He was a frequent visitor to Deauville, where the smart world gathered, and to the cabarets and restaurants of Paris. What appealed to him about the années folles were their movement and gaiety. He once said: "I passionately love the life of my time, so animated, so feverish. Ah! Life is even more beautiful than painting"' (see D. Sutton, exh. cat. Cornelis Theodorus Maris Van Dongen (1877-1968), Arizona, 1971, p. 46).
Situated at the doorway of Cannes, between the superb Esterel hills and the Tanneron, Mandelieu was a popular destination on the Côte d'Azur for wealthy Parisians. It was in the nineteenth-century that Mandelieu began to earn its name as a holiday resort, thanks in large part to the golf course that had been built there by an entrepreneurial scion of the Romanov dynasty.