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More Raoul Dufy Paintings
Dimanche a Deauville
The Blue Palm Trees
The Bunch of Lilies
Regates dans le Port de Trouville
The Bay of Angels - Nice, 1929
Baie de Anges, Nice
Promenade a Nice Raoul Dufy Biogarphy
Britannica Concise Encyclopedia:Raoul Dufy For more information on Raoul Dufy, visit Britannica.com. Art Encyclopedia:Raoul Dufy (b Le Havre, 3 June 1877; d Forcalquier, Basses-Alpes, 23 March 1953). French painter, printmaker and decorative artist. From the age of 14 he was employed as a book-keeper, but at the same time he developed his innate gift for drawing at evening classes at the Ecole des Beaux-Arts in Le Havre,given by the Neo-classical painter Charles Lhuillier (?1824-98). He discovered the work of Eug?ne Boudin, Poussin and Delacroix, whose Justice of Trajan (1840; Rouen, Mus. B.-A.) was 'a revelation and certainly one of the most violent impressions' of his life (Lassaigne, Eng. trans., p. 16). In 1900, with a grant from Le Havre, he joined his friend Othon Friesz in Paris and enrolled at the Ecole Nationale Sup?rieure des Beaux-Arts in the studio of L?on Bonnat. At the Mus?e du Louvre he studied the art of Claude Lorrain, to whom he painted several Homages between 1927 and 1947 (e.g. 1927; Nice, Mus. Mass?na). His encounter with works by van Gogh at the Galerie Bernheim-Jeune and with Impressionism at Durand-Ruel is reflected in such early works as Beach at St Adresse (1904; Paris, Pompidou).Modern Design Dictionary:Raoul Dufy (1877-1953)Although widely celebrated as a French painter associated with the colour-intensive work of Henri Matisse and the Fauves in the early 20th century, Dufy also made a significant contribution to the decorative arts, particularly textile designs, which he produced for the Lyons firm of Atuyer, Bianchini & Férier (later Bianchini-Férier) from about 1912. After training at the École des Beaux-Arts in Le Havre he went on in 1896 to study at the École des Beaux-Arts in Paris. Immersed at the centre of the contemporary art world he was variously influenced by Post-Impressionism, Fauvism, and Cubism. In 1909 he made a series of woodcuts for the Bestaire, a book of poems by Guillaume Apollinaire, that in turn led to a series of commissions from the couturier Paul Poiret and his Atelier Martine, including printed textiles for dresses characterized by their bold colours and strong designs. A long association with Bianchini-Férier followed this, lasting till 1928. He also worked on ceramic decoration, working closely with the Catalan potter José Lloréns from about 1923 to 1930. In the 1930s Dufy also produced a number of designs for large-scale tapestries and furniture fabrics for French patrons. He designed textiles for foreign clients such as the American Onandaga company and also produced decorative engraving schemes for the Corning Glass Company. French Literature Companion:Raoul Dufy Dufy, Raoul (1877-1953). French painter. With his painting, mural decorations, theatre and fabric designs, ceramics, and posters, Dufy was a major source of the modern visual sensibility. The wood-cuts and lithographs which he produced to illustrate works by Apollinaire, Mallarmé, Daudet, Gide, and Colette, among others, constitute some of the most important modern examples of the creative collaboration between word and image. [James Kearns] Raoul Dufy WikiRaoul Dufy[p] (3 June 1877 – 23 March 1953) was a French Fauvist painter. He developed a colorful, decorative style that became fashionable for designs of ceramics and textiles, as well as decorative schemes for public buildings. He is noted for scenes of open-air social events. He was also a draftsman, printmaker, book illustrator, a theatrical set-dresser, a designer of furniture, and a planner of public spaces.BiographyRaoul Dufy was born into a large family at Le Havre, in Normandy. He left school at the age of fourteen to work in a coffee-importing company. In 1895, when he was 18, he started taking evening classes in art at Le Havre's École d'Art (municipal art school). The classes were taught by Charles Lhuillier, who had been, forty years earlier, a student of the remarkable French portrait-painter, Ingres. There, Dufy met Raymond Lecourt and Othon Friesz with whom he later shared a studio in Montmartre and to whom he remained a lifelong friend. During this period, Dufy painted mostly Norman landscapes in watercolors. In 1900, after a year of military service, Dufy won a scholarship to the Ecole Nationale Superieure des Beaux-Arts in Paris, where again he crossed paths with Othon Friesz. (He was there when Georges Braque also was studying.) He concentrated on improving his drawing skills. The impressionist landscape painters, such as Claude Monet and Camille Pissarro, influenced Dufy profoundly. His first exhibition (at the Exhibition of French Artists) took place in 1901. Introduced to Berthe Weill in 1902, Dufy showed his work in her gallery. Then he exhibited again in 1903 at the Salon des Independants. A boost to his confidence: the painter, Maurice Denis, bought one of his paintings. Dufy continued to paint, often in the vicinity of Le Havre, and, in particular, on the beach at Sainte-Adresse, made famous by Eugene Boudin and Claude Monet. In 1904, with his friend, Albert Marquet, he worked in Fecamp on the English Channel (La Manche).
Raoul Dufy, Regatta at Cowes, (1934), Washington D.C. National Gallery of Art. Henri Matisse's Luxe, Calme et Volupté, which Dufy saw at the Salon des Indépendants in 1905, was a revelation to the young artist, and it directed his interests towards Fauvism. Les Fauves (the wild beasts) emphasized bright color and bold contours in their work. Dufy’s painting reflected this aesthetic until about 1909, when contact with the work of Paul Cézanne led him to adopt a somewhat subtler technique. It was not until 1920, however, after he had flirted briefly with yet another style, cubism, that Dufy developed his own distinctive approach. It involved skeletal structures, arranged with foreshortened perspective, and the use of thin washes of color applied quickly, in a manner that came to be known as stenographic. Dufy's cheerful oils and watercolors depict events of the time period, including yachting scenes, sparkling views of the French Riviera, chic parties, and musical events. The optimistic, fashionably decorative, and illustrative nature of much of his work has meant that his output has been less highly-valued critically than the works of artists who have addressed a wider range of social concerns. Dufy completed one of the largest paintings ever contemplated, a huge and immensely popular ode to electricity, the fresco La Fée Electricité for the Exposition Internationale in Paris. Dufy also acquired a reputation as an illustrator and as a commercial artist. He changed the face of local fashion and fabric design with his work for Paul Poiret. He painted murals for public buildings; he also produced a huge number of tapestries and ceramic designs. His plates appear in books by Guillaume Apollinaire, Stéphane Mallarmé, and André Gide. Dufy died at Forcalquier, France, on 23 March 1953, and he was buried near Matisse in the Cimiez Monastery Cemetery in Cimiez, a suburb of the city of Nice. [edit] Work outside of painting
Sketch (1918) by Dufy for a Charvet silk square, Centre Pompidou In 1909, Raoul Dufy was commissioned by Paul Poiret to design stationery for the house, and after 1912[1] designed textile patterns for Bianchini-Ferier used in Poiret's[2] and Charvet's[3] garments. [edit] Works
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