Kees van Dongen

Adrien Tarneaud, 1927
Private Collection, Japan
Sale: Sotheby's New York, November 12, 1997, lot 510
Acquired at the above sale by the present owner

Limoges, Les Amis des Arts, Exposition: Peinture, Sculpture, 1927, no. 191 (as Tête de Femme)

Very good condition. Original canvas. Canvas is striplined. Minor craquelure in light green tones in left half of composition. There is a layer of varnish on the surface. Under UV light, no inpainting is apparent.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Kees van Dongen was one of the key proponents of Fauvism and worked in the style of the period for the majority of his artistic career. Predominantly a figurative artist, van Dongen depicted the extremes of wealth and class throughout his career, from the lowly dancers of the Paris theaters to the wealthy frequenters of the Monte-Carlo Casinos in the 1920s.

The years between 1906 and 1909 heralded a new era in van Dongen's work. After his return from the Netherlands to Paris in 1907, the artist created numerous works inspired by the actresses and entertainers who performed for the traveling funfairs and theatres such as the Folies- Bergère. According to Saint Georges de Bouhélier, who wrote the catalogue preface for van Dongen's 1908 exhibition, the artist treats the women he paints without complacency, there is no condescension to his viewpoint, just a vivid vibrancy rare for its period.

Chanteuse reveals van Dongen's cunning use of green to highlight contrasts, particularly in the face. This is characteristic of the Fauvists' desire to use bold colors in artistic contrasting, and not simply white-grey tones. The seductive application of red for the lips draws the viewer immediately to the most sensual part of the painting. The present work is a classic depiction of the era through the eye of this 20^th Century visionary.