Lot 36
  • 36

Kees van Dongen

Estimate
600,000 - 800,000 GBP
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Description

  • Kees van Dongen
  • FEMME AUX BIJOUX
  • signed Van Dongen (upper right); signed Van Dongen and dated Nov. 29 on the stretcher
  • oil on canvas
  • 130.5 by 97.5cm.
  • 51 3/8 by 38 3/8 in.

Provenance

Galerie Daniel Malingue, Paris
Wally Findlay Gallery, Paris (acquired from the above in 1981)
Private Collection (acquired from the above. Sold: Sotheby's, New York, 5th November 2004, lot 227)
Purchased at the above sale by the present owner

Exhibited

Le Mans, Musée de Tessé, Cent ans de peinture moderne de Claude Monet à Arman, 1975, no. 14
Tokyo, Isetan Museum, Great Artists of the Century - The Wally Findlay Collection, 1981, no. 35

Catalogue Note

A stunning example of Van Dongen’s art of the 1920s, that became known as the ‘années folles’, Femme aux bijoux depicts an unidentified sitter, whose striking appearance, clothes and jewellery give her an air of vibrancy and boldness characteristic of Van Dongen’s most glamorous portraits. Although fully clothed in an elegant evening dress, the beauty of the model is accentuated by her hair, and her sparkling necklace and bracelets executed in dabs of paint applied directly from the tube. These attributes identify the sitter as a member of high society, although Van Dongen’s primary interest lay in the feminine allure of her figure rather than in her individuality. The subtlety of the woman’s skin and the silvery sheen of her dress are emphasised by contrast with the deep green of the sofa and the dark recess of the background. The green highlights of the figure’s skin demonstrate the artist’s disregard for anatomy and naturalistic representation, in favour of depicting the physicality and sensual presence of his sitter.

 

Known as the principal portraitist among the Fauve artists, Van Dongen executed portraits inspired by his visits to the cabarets and cafés where dancers performed in exotic costumes, as well as those of members of high society. In 1918, the artist began a relationship with Léo Jacob, also known as Jasmy La Dogaresse, who helped launch his career among Parisian fashion circles. In 1922 the couple moved to a new residence in rue Juliette Lamber, where Van Dongen held exhibitions and Jasmy hosted extravagant parties attended by influential members of society. Writing about this period of Van Dongen’s career, Denys Sutton commented: ‘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 [his 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”’ (D. Sutton in Cornelius Theodorus Marie Van Dongen (exhibition catalogue), Tucson, 1971, p. 46).