Kees van Dongen (1877-1968)

La femme aux colonnes (Standing Nude)

Details
Kees van Dongen (1877-1968)
La femme aux colonnes (Standing Nude)
signed 'Van Dongen' (lower right)
oil on canvas
39.3/8 x 25.5/8 in. (100 x 65.1 cm.)
Painted in 1910
Provenance
Galerie Bernheim-Jeune, Paris (acquired directly from the artist in 1913)
Galerie Charpentier, Paris
Alex Maguy, Paris
Yul Brynner, Buchillon, Switzerland; sale, Christie's, London, 14 April 1970, lot 62 (illustrated in color)
Literature
R. Nacenta, The School of Paris, New York, 1981, p. 104, no. 20 (illustrated).
L. Chaumeil, Van Dongen, l'homme et l'artiste--la vie et l'oeuvre, Geneva, 1967, p. 311, fig. 46 (illustrated).
J.M. Kryriazi, Van Dongen et le fauvisme, Lausanne, 1971, p. 121 (illustrated in color, pl. 51).
Exhibited
Paris, Galerie Bernheim-Jeune, Van Dongen, June 1911, no. 32.
Paris, Muse National d'Art Moderne de la Ville de Paris, and Rotterdam, Museum Boymans-Van Beuningen, Van Dongen, October 1967-January 1968, no. 60 (illustrated).
Geneva, Muse de l'Athene, Van Dongen, July-October 1967, no. 27.

Lot Essay

From the work of Delacroix and Ingres at the beginning of the nineteenth century to Picasso's 1955 series based on Delacroix's Femmes d'Alger, orientalism was one of the key elements in the evolution of modern French painting. In the exoticism and romanticism of its subject matter, and the intensity of its color and light, orientalism had a tremendous impact on both motifs and techniques throughout this period.

Orientalism perfectly suited van Dongen's artistic temperament. Along with Matisse, van Dongen was the Fauve artist most captivated by the human figure. In a series of paintings of a single model executed between 1906 to 1910, and culminating in Anita en Alme, van Dongen produced some of the most energetic and erotically charged examples of orientalism in French painting.