Le Jardin des Tuileries et l‘Arc de Triomphe du Carrousel

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Jean Dufy
Le Jardin des Tuileries et l‘Arc de Triomphe du Carrousel

Name: Le Jardin des Tuileries et l‘Arc de Triomphe du Carrousel
Brand: Jean Dufy
Rating: 4 (4 reviews)

About the Item

Jean Dufy French, 1888-1964 Le Jardin des Tuileries et l‘Arc de Triomphe du Carrousel Oil on canvas 13 ¼ by 16 ½ in. W/frame 22 ¼ by 25 ½ in. Signed bottom center From LeHavre and an arts-oriented family of eleven children including the famous Raoul Dufy (1877-1953), Jean Dufy showed artistic ability from childhood. Throughout his future career, his older brother, Raoul, encouraged him. Jean not only did fine-art painting but painted theatre sets. To earn money, he was a clerk for an overseas import business and even served as secretary on a transatlantic liner, La Savoie,which traveled between New York and Le Havre. In these jobs, Dufy did much walking and observing around the port of Le Havre, and also became fascinated with modernist 'tradition breakers' such as Henri Matisse and Pablo Picasso. He became a student in Le Havre at the l'Ecole des Beaux Arts, and his teachers included Raoul and A.E. Othon Friesz. When Raoul moved on to Paris, Jean Dufy dropped out of the Ecole in Le Havre to follow his brother "who remained his true master for the rest of his life." (Kodner) However, between these moves, he also served in the military from 1910 to 1912. For the next two years, living in Paris, he became associated with Cubist painters Picasso as well as Georges Braque and poet Guillame Apollinaire. By 1914, he was exhibiting his early watercolors, "muted tones and somber browns, blues, and reds" mingling "with the hatching technique he inherited from Cézanne by way of his brother Raoul Dufy." The venue was the Berthe Weill Gallery. However, that same year, he was drafted for additional military service and was a soldier on horseback. Being stationed throughout France, he painted many landscape scenes including in the Vosges region where he was treated for war wounds. Because of this close association, Jean Dufy's work, much of it in ink and watercolor, is often compared to that of his brother. Like Raoul, he chose Parisien subjects, "country scenes, circuses, horse races, stages and orchestras. . . . Raoul Dufy often dissected each of the elements that he used in his compositions, often with humor or tenderness, if not with acuteness. Jean, on the other hand, was more sensitive to the entire panorama of the scene represented, i.e. the particularity, the individuality, the 'hands on'. (Kodner) Jean Dufy in 1916 worked briefly with his brother in a studio doing textile painting, and then began what became a major component of his career for the next 30 years---porcelain decoration for Haviland in Limoges, France. For skillful and creative execution of animal and floral designs, he received the International Exhibition of Decorative Arts gold medal in 1925 for a set he designed titled "Chateau de France". By 1920, he was a member of the Salon d'Automne, where he exhibited in 1920, 1923, 1924, 1927 and 1932. Also bringing him increasing public attention was gallery representation in Paris at the Galerie Bing and in New York at Balzac and Peris Galleries. In 1937, he helped his brother, Raoul, with the completion of his assignment to oversee the decoration of the Electric Pavillion for the World's Fair. Together they did a mural, 600 meters in size, to celebrate electricity. He established residency in Montmartre, living near the artist, Georges Braque. In addition to painting and decorative arts, Jean Dufy was a musician, playing the classical guitar, and was a jazz enthusiast, which some critics have linked to his rhythmic, fluid painting style. The interest in music likely is linked to his father, whose career was accounting for a metallurgy company and who was an amateur musician. The love of music of Dufy transferred to his artwork, and he did many brightly colored depictions of musicians in orchestra scenes and piano players. Among his associates were prominent avant-garde composers whose names remain famous such as Francis Poulenc, Arthur Honegger and Eric Satie. Finding many painting subjects, Jean Dufy traveled extensively in the 1950s, the last decade of his life. He returned often to his hometown of Le Havre and to his mother's birthplace of Honfleur, as well as to many other locations in Europe and to North Africa. However, judging by his many scenes of Paris, it was the location that for him was most fascinating: "the streets, the horse-drawn carriages, the Eiffel Tower, the sky, and the Seine." (Bailly) Provenance: Schoneman Galleries, Inc, New York, # 8238; Christie's New York: May 11, 1994, lot # 333; Estate of June Montague Ficklen, Greenville, North Carolina Le Trianon Fine Art & Antiques, Sheffield Ma. Private Collection, New York Art D257

Creator:
Jean Dufy (1888 - 1964, French)
Dimensions:
Height: 13.25 in (33.66 cm)Width: 16.5 in (41.91 cm)Depth: 1 in (2.54 cm)
Medium:
Oil
Movement & Style:
Post-Impressionist
Period:
1940-1949
Condition:
Gallery Location:
Sheffield, MA
Reference Number:
Seller: Art D2571stDibs: LU70032063523

Shop All Jean Dufy

Jean Dufy

Jean Dufy was a French Art Deco artist, best known for his colourful, melodic depictions of post-war Parisian society. Working to capture everyday life, from concert halls and circuses to country landscapes and busy Parisian streets, Dufy focused on recreating the feeling and impression of a scene, rather than individual details. In 1906, Dufy visited the exhibition ‘Cercle de l’Art Moderne’ in La Havre, and it was this show that eventually inspired him to pursue an artistic career. The exhibit, one of Dufy’s first exposures to Modern Art, crucially shaped his approach to art and introduced him to artists such as Picasso and Matisse. While he had no formal training, his older brother was well-known French Fauvist Raoul Dufy, who served as his artistic mentor. In January 1914, Dufy launched his artistic career, holding his first show at Galerie Berthe Weil. He returned to Paris after the war and settled in the Montmartre district of Paris, moving next door to artist George Braque, who encouraged Dufy to experiment with Cubism. His personal painting style developed into a vibrant fusion of Post-Impressionism with a loose decorative approach to colour and line, which he achieved from his work in porcelain design. For almost 30 years, Dufy worked for Limoge porcelain manufacturer Theodore Haviland, hand-painting decorative designs of animals and flowers. At the 1925 L’exposition Internationale des Arts Décoratifs he was awarded a gold medal for designing the service ‘Châteaux de France’. Dufy participated in many exhibitions, including the Salon d’Automne, which reflected the popularity of jazz music and the art of Parisian culture after the war. Dufy would return to his native Normandy throughout his life and spent long stretches of time in the south of France. The dynamism of these landscapes and cityscapes - particularly noticeable in the street scene Route de Rives (Touraine)- are so cleverly captured due to Dufy’s uniquely musical and distinctive Post-Impressionistic style.

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At The Seaside

By Gaston Sebire

Located in Sheffield, MA

Gaston Sebire French, 1920-2002 At The Seaside Oil on canvas 25 by 31 in. W/frame 33 ½ by 39 ½ in. Signed lower right Gaston Sebire (1920 – 2002) Gaston Sebire, was one of Europe’s leading landscapists, was born in the village of Saint-Samson in Normandy in 1920. A self taught artist, he began to paint seriously at the age of eighteen. For eight years he worked as a postal clerk in the Rouen, sorting letters at night in order to support his career as a painter. In 1952 Gaston Sebire had his first exhibition at the Galerie Gosselin in Paris. The following years he enjoyed the double triumph of winning both the coveted Prix de la Critique and the Prix Casa Velasquez. The Latter award made it possible for him to spend a year and a half in Spain. Of this formative period he said, “They were my first, wonderful years without worry. For fifteen years I had never known what the next day would bring.” The year 1957 marked another important stage in his career. His painting “La Dinde” won the Greenshields Prize in a field of 136 competitors, making it possible for him to paint for another two years without the worry of finances. Winning the awards naturally drew public attention to the artist from Normandy, and his works were presented in highly successful one-man shows in Paris. Sebire was a Norman, a man strongly attached to the soil, and after his exhibitions in Paris, he returned to Rouen to his large house overlooking the town and once again plunged into painting the countryside. Gaston Sebire was a strongly built man with square hands and a rather heavy walk. He had immense vitality, and used that to his advantage. As he said of himself, “When the snow falls, I can’t stay indoors. I set out with my paint box. I paint outdoors from nine in the morning until five at night. If it were only a question of money, one could just as well paint in one’s own room.” But Sebire went into the countryside, or into the village, and sets up his easel. When there is a café into which people are going; there is a fence, a telegraph pole, a few buildings in the background. The scene takes on life, vivid life, with a sense of some event about to take place in the scene. Like many artists, and like a typical Norman, Sebire was silent and solitary by nature, with a personality as strong and frank as his paintings. A painting, he says, “must have an element of mystery, show an effort to look beyond the aura surface of things.” Sebire’s early paintings were somber with much use of black and white tones. In 1970 he turned to colour. The subtle light of the Normandy skies; the shifting light and color along the seacoast; the magnificent blues of the Rouen pottery...

Category

1960s Post-Impressionist Landscape Paintings

Materials

Oil

Gaston Sebire
At The Seaside, 1965

$6,960

Sunny Hedge

By Frank Vincent Dumond

Located in Sheffield, MA

Frank Vincent Dumond American, 1865-1931 Sunny Hedge Oil on canvas Signed "F.V. DuMond," lower right 24.5 in. by 29 in. W/frame 32.5 by 37 in. Born in Rochester, New York in 1865, Frank DuMond left his work as an illustrator at age 23 to study in the rigorous classical atelier tradition of the Academie Julian Paris in 1888. Upon his return to New York in 1892, DuMond embarked on a painting and teaching term at the Art Students League spanning nearly six decades until his death. A painter of diverse talents, he was an accomplished landscape, portrait and still life painter, muralist, and leader of the Tonalist then Impressionist art colonies of Lyme, Connecticut. In particular, DuMond was noted for his use of landscape green. American Impressionist expert William H. Gerdts wrote of DuMond, "As one might speak of Velazquez's blacks, one must speak of DuMond's greens." Scholars have described him as a deft painter of the American Impressionist landscape and the figure, but he will perhaps be remembered as among the most outstanding educators in American art history. Though an accomplished painter, he is said to have considered himself more of an educator than an artist. By all accounts, DuMond is described by his students as a man whose art and teaching methods were based on deeply held religious and philosophical beliefs. One student recalls, "There were occasions when DuMond revealed a clear intent to educate us on a deeper level than might casually be associated with painting." His students remember him fondly as "a genial, generous, and perceptive instructor…whose warmth and kindness pervaded everything he did." Under his tutelage, many prominent American artists were brought to recognition, including Georgia O'Keeffe, Norman Rockwell, and John Marin. Still other protégés of DuMond renown became influential teachers, such as Baroque-style painter Frank Mason, whose influence emerged in New York at the Art Students League; and Arthur Maynard...

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