Raoul Dufy

Mr Sauvy, Neuilly
Sale: Christie's, New York, 16th May 1985, lot 414
Private Collection
Acquired by the present owner in 2005

Maurice Laffaille, Raoul Dufy, Catalogue raisonné de l'œuvre peint, Geneva, 1977, vol. IV, no. 1622, illustrated p. 179

Executed on a thin panel. some minor rubbing to the pigment along the upper and left edges. A small ding to the upper left corner and a thin split 2 cm below the upper left corner. When examined under UV light one small restoration is apparent on the upper edge on the right side, probably due to prior frame abrasion. Otherwise this work is in very good condition. Colours: The central figure is pinker in reality and the green on upper left is brighter.
"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."

The old masters were a constant source of artistic inspiration throughout Raoul Dufy's career. Through pure vibrant colours, the artist conveys the movement and rhythm of music, as inspired by Jacopo Tintoretto's depiction of an archetypal Arcadian scene (fig. 1). As a musical stanza, the four nudes in La Musique are a play of poses and movement, visually cadenced by the bold and striking use of bright yellow, red and pink tones.

Dufy's close friend the cellist and conductor Pablo Casals 'loved [his] paintings of music and musicians' and remarked that even if 'he could not tell which work the musicians were playing, he could always tell the key from the dominant colour of the painting.' The present work is a wonderful celebration of form and colour, and is testament to the fact that Dufy's 'love for music preceded everything else' (Bryan Robertson, "An Introduction to Dufy", Raoul Dufy 1877-1953, London, 1983, p. 54).