158
158

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

Kees van Dongen
DEUX NUS AUX BALLONS
Estimación
1.200.0001.800.000
Lote. Vendido 1,314,500 USD (Precio de adjudicación con prima del comprador)
SALTAR AL LOTE
158

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

Kees van Dongen
DEUX NUS AUX BALLONS
Estimación
1.200.0001.800.000
Lote. Vendido 1,314,500 USD (Precio de adjudicación con prima del comprador)
SALTAR AL LOTE

Details & Cataloguing

Impressionist & Modern Art Day Sale

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New York

Kees van Dongen
1877 - 1968
DEUX NUS AUX BALLONS
Signed van Dongen (lower left)
Oil on canvas
83 5/8 by 39 5/8 in.
212.6 by 100.8 cm
Painted circa 1905.
Leer informe de condiciones Leer informe de condiciones

This work will be included in the forthcoming Van Dongen Catalogue critique being prepared by Jacques Chalom des Cordes under the sponsorship of the Wildenstein Institute.

Procedencia

Galerie Paul Pétridès, Paris (acquired from the artist in the 1960s)
Ellen Melas Kyriazi, Lausanne (acquired from the above)
Private Collection (and sold: Christie's, London, June 27, 1988, lot 29)
Gallery Sakai, Tokyo
Acquired from the above

Expuesto

Paris, Galerie Charpentier, Van Dongen, 1949, no. 19 (as dating from 1898 and titled Deux Femmes)
Paris, Musée Nationale d'Art Moderne & Rotterdam, Museum Boijmans Van Beuningen, Van Dongen, 1967-68, no. 25
Paris, Grand Palais, Van Dongen, 1972, no. 5
Saint Tropez, Musée de l'Annonciade & Toulouse, Réfectoire des Jacobins, Kees van Dongen, 1877-1968, 1985, no. 8, illustrated in color in the catalogue
Toronto, Art Gallery of Ontario (on loan 1984-88)

Documentación

Jean M. Kyriazi, Van Dongen et le Fauvisme, Lausanne, 1971, no. 29, illustrated p. 75
Kees van Dongen (exhibition catalogue), Museum Boijmans Van Beuningen, Rotterdam, 1990, illustrated p. 20
Van Dongen, Le Peintre (exhibition catalogue), Musée d'Art Moderne de la Ville de Paris, Paris, 1990, illustrated in a photograph p. 36
Kees van Dongen (exhibition catalogue), Nouveau Musée National de Monaco, Monte Carlo, 2008, illustrated p. 154
Kees Van Dongen (exhibition catalogue), Museu Picasso, Barcelona, 2009, illustrated in a photograph p. 174

Nota del catálogo

Deux nus aux ballons was painted in 1905, the same year Kees van Dongen first exhibited with the Fauves at the Paris Salon d'Automne. This monumental, vibrant painting of two nudes standing provocatively beneath a sea of balloons dates from the most important period in van Dongen's oeuvre, a time when his individual style was first recognized as a remarkable addition to the art and culture of the period. Although van Dongen exhibited with the other Fauve painters he produced paintings that were pure expressions of his own sentiments and experiences. The sun-drenched Provençal landscapes that so captivated Derain and Matisse could not compete for van Dongen's attention; he was inexorably drawn to the city lights and cabarets of Paris, indeed stating that "Paris attracted me like a lighthouse" (quoted in The Van Dongen Nobody Knows: Early and Fauvist Drawings 1895-1912 (exhibition catalogue), Museum Boijmans Van Beuningen, Rotterdam, 1997, p. 26).

The present work is undoubtedly one of the most impressive paintings from this period given its ambitious scale and bold colors. The multicolored balloons enliven the scene, and their dynamic combinations of pigments and forms are almost orphic in style. Beneath this delightful array of tones stand two well-figured nudes. Van Dongen has depicted them in a frenzied haze of brushstrokes, lending softness to their flesh and an atmospheric charge to the whole image. The heightened colors settled on their forms have risen to a pitch that is no longer naturalistic, nor are their rounded bodies anatomically correct; naturalism is disregarded in the painter's pursuit of a more physical, sensual depiction of his models.

The subject matter is typical of van Dongen's work from this period. Large scale nudes made frequent occurences throughout his career, however, it is these early Fauve monumental beauties that exhibit the most potent Expressionism. The nude models may have inherited their poses from classical Greek caryatids but their vivid sensual charge is drawn directly from modern Parisian nocturnal entertainments. The cabaret scene was at the beating heart of the city and van Dongen was a key protagonist as well as chronicler of the demi-monde. He moved to Montmartre from Rotterdam in 1897, where he began to explore the rich artistic possibilities that the city presented. The nightclubs offered debauchery and refinement in equal measure, such as the nude tableaux vivants staged as erotic entertainment—scenes which undoubtedly influenced the present work.

Impressionist & Modern Art Day Sale

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New York