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Lot Essay
Jacques Chalom des Cordes will include this work in his forthcoming van Dongen catalogue raisonné being prepared under the sponsorship of the Wildenstein Institute.
La dame au chapeau vert dates from a period of transition both in van Dongen's work and his life. In 1906, having only recently made his impact on the Parisian art scene, he moved into the famous Bateau-Lavoir, the residence of so many of the great artistic pioneers of the period, not least Picasso. Alongside the artists, he met there Max Jacob and other significant figures from the art market, who heralded a new era of prosperity and happiness for the Dutchman. Van Dongen frequently entertained his new acquaintances, enjoying both their company and their ideas. This probably in part caused van Dongen's adoption of the Fauvist palette during this period. Whereas recently he had often used a shimmering Pointillism, here he instead used strong, undifferentiated fields of colour, reminiscent of Gauguin rather than Signac, paving the way for his hallmark style.
La dame au chapeau vert dates from a period of transition both in van Dongen's work and his life. In 1906, having only recently made his impact on the Parisian art scene, he moved into the famous Bateau-Lavoir, the residence of so many of the great artistic pioneers of the period, not least Picasso. Alongside the artists, he met there Max Jacob and other significant figures from the art market, who heralded a new era of prosperity and happiness for the Dutchman. Van Dongen frequently entertained his new acquaintances, enjoying both their company and their ideas. This probably in part caused van Dongen's adoption of the Fauvist palette during this period. Whereas recently he had often used a shimmering Pointillism, here he instead used strong, undifferentiated fields of colour, reminiscent of Gauguin rather than Signac, paving the way for his hallmark style.