Kees van Dongen (1877-1968)
Artist's Resale Right ("Droit de Suite"). Artist's… 顯示更多
Kees van Dongen (1877-1968)

Le Maillot blanc

細節
Kees van Dongen (1877-1968)
Le Maillot blanc
signed 'Van Dongen.' (lower right)
oil on canvas
81 x 54 cm.
Painted in 1908.
來源
Acquired directly from the artist by Galerie Bernheim Jeune, Paris, 6 October 1908 (no. 16.777).
Samy Chalom, Paris.
By descent from the above to Jacques Chalom, Paris, 1962.
Leonard Hutton Galeries, New York, 1965.
Anonymous sale, Champin, Lombrail & Gautier, Enghien-les-Bains, 24 November 1987, lot 20.
Anonymous sale, Sotheby's, London, 2 December 1992, lot 122.
Kunsthandel Borzo, 's-Hertogenbosch.
Acquired from the above by the present owner, 1993.
出版
Jean Mélas Kyriazi, Van Dongen et le Fauvisme, Lausanne, 1971, no. 33, p. 83 (illustrated).
Anita Hopmans, De grote ogen van Kees van Dongen, Rotterdam, 2010, no. 38, p. 76 (illustrated, dated 1908).
展覽
Paris, Galerie Kahnweiler, Exposition d'oeuvres de Kees van Dongen, 2-28 March 1908, no. 13.
Paris, Galerie Bernheim Jeune, Van Dongen, 25 November - 8 December 1908, no. 58.
Munich, Moderne Galerie Thannhäuser, II. Ausstellung Neuen Künstlervereinigung München, 1-14 September 1910, no. 19 (titled 'Der weiße Trikot').
Paris, Galerie Bernheim Jeune, Van Dongen, Hollande Paris Espangne Maroc, 6-24 June 1911, no. 4.
Brussels, Galerie Georges Giroux, Kees van Dongen, 20 October - 5 November 1912.
Asnières, Salon d'Asnières, Hommage à Van Dongen, 1962, no. 11.
New York, Leonard Hutton Galleries/Miami, Gulf American Gallery, A comprehensive exhibition of paintings 1900 to 1925 by Van Dongen, 16 November - February 1966, no. 6 (dated 1904).
Marseille, Musée Cantini, Hommage à Van Dongen, June - September 1969, no. 11.
Paris, Grand Palais, Salon d'Automne 1972. Grandes Oeuvres Russes des collections françaises. Van Dongen, 31 October - 27 November 1972, no. 9.
Rotterdam, Museum Boymans van Beuningen/Lyon, Musée des Beaux-Arts/Paris, Institut Néerlandais, Kees van Dongen: Early Drawings, 1895-1914, 2 November 1996 - 8 June 1997, no 127.
Munich, Städtische Galerie im Lenbachhaus, The strife for Synthesis. Neue Künstlervereinigung München und Blauer Reiter 1909-1912, 2 July - 3 October 1999, no. 31.
's-Hertogenbosch, Noordbrabants Museum, Liefde op het eerste gezicht, 17 April - 9 September 2001.
Monaco, Nouveau Musée National de Monaco/Montreal, Museum of Fine Arts/Barcelona, Musée Picasso, Kees van Dongen, 25 June 2008 - 28 September 2009, no. 98.
Rotterdam, Museum Boymans van Beuningen, De grote ogen van Kees van Dongen, 18 September 2010 - 23 January 2011, no. 38.
Paris, Musée d'Art moderne de la Ville de Paris, Kees Van Dongen: fauve, anarchiste et mondain, 25 March - 17 July 2011, no. 49.
注意事項
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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拍品專文

'Le Maillot blanc' shows all the pictorial hallmarks of Van Dongen's most directly expressive Fauve manner. From 1906 onwards Van Dongen frequented cafes, circuses and cabarets in the area of his studio in the Bateau-Lavoir in Montmartre in search of models for his works, like prostitutes, acrobats, clowns and actresses. He often visited the Cirque Médrana, together with Picasso, where he would take his sketchbook to make quick drawings of the acrobats and clowns he would later use for his oils. In the present lot a female acrobat in white tights presents herself to the public. Although he chose the subject of the human body, his primary focus was on the vibrancy of palette and directness of expression rather than anatomical accuracy. With rough brushstrokes and striking forms, he chose to depict a Parisian performer in a raw, realistic way. To emphasize the body of the acrobat he depicted a bold contrast between black and white hues through the strong black outlines, suggesting a strong spotlight that creates the shade behind her. The red highlights of the woman's hair and sleeves and the raw brushstrokes capture the dynamism of this aesthetic performance and is characteristic of the bold approach to colour which earned Van Dongen a place at the forefront of the European avant-garde.

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.

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