Kees van Dongen

Galerie Pétridès, Paris (no. 3874)
Ferdinand Buisson, Paris
Vente : Christie's, Londres, 30 juin 1999, lot 529
Acquis lors de cette vente par le propriétaire actuel

The canvas is not lined. There is stable paint shrinkage in the yellow, dark red and white pigments. Under ultra-violet light, there is scattered retouching in the same areas. This work is in overall good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

signed 'Van Dongen' (lower left) ; signed 'VD' and titled 'Dimanche à la plage' (on the reverse), oil on canvas.

 

Fig. 1  Eugène Boudin, Scène de plage, vers 1865-70, huile sur toile, National Gallery, Londres

 

Cette brillante scène de plage à Deauville illustre le talent de coloriste de Van Dongen, intact depuis les années fauves, et la verve grinçante du plus grand portraitiste mondain de son époque. A partir d'un thème évoquant les plages aux élégantes de Boudin (Fig. 1), Kees Van Dongen rassemble une assemblée compacte et animée de promeneurs, d'enfants, de femmes en robes longues, faisant défiler les étoffes chatoyantes et les chapeaux à la mode devant des cabines de plages aux couleurs très vives, le tout sous un ciel menaçant admirablement peint : soit l'arc-en-ciel du bonheur de vivre avant l'orage. 

Pendant la Belle Epoque, Deauville était devenue une plage excessivement mondaine où se rencontraient chaque été les personnages les plus hétéroclites, magnats de l'industrie  et de la finance, gloires solides ou éphémères. C'est aussi l'âge d'or des photographes mondains qui affluaient sur la grande plage pour saisir quelques instantanés de l'animation mondaine en plein air. Devenu l'un des portraitistes les plus recherchés par la haute société, Van Dongen s'est vraisemblablement amusé à se représenter sous les traits du photographe à droite de cette scène.   

 

This dazzling Deauville beach scene illustrates Van Dongen's talent as a colourist, undiminished since the Fauve years, and the satirical flair of the greatest society portraitist of his age.  Starting with a theme reminiscent of the fashionable beaches in Boudin's work (Fig 1), Kees Van Dongen assembles a lively, bustling gathering of walkers, children and ladies in long dresses, showcasing the vivid fabrics and hats that were in vogue at the time in front of brightly coloured beach huts, all mingling under a menacing, skilfully painted sky: a rainbow of joyful vitality before the coming of the storm.

During the Belle Époque, Deauville had become an extremely fashionable resort where each summer the most diverse personalities rubbed shoulders, magnates from the worlds of industry and finance, established celebrities and the flavours of the month.  It was also the golden age of society photographers who flocked to the large beach to capture a few snapshots of the al fresco social activity. Having become one of the most sought-after high society portraitists of the time, Van Dongen appears to be teasing us by depicting himself as a photographer to the right of the scene.