Kees van Dongen

Galerie du Niveau, Paris
Mr. and Mrs. Maurice Newton (acquired from the above in 1961)
Thence by descent to the present owner

 

Original canvas. The surface is good with intact impasto. Some paint separation (inherent to the drying of the pigment) in the red strip at the right edge of the composition, primarily in the upper and lower right sections, as visible in the catalogue illustration. There is one small spot of inpainting just above the head of the figure at the right. Otherwise, this work is in very good original condition. Colors: The colors, particularly the red, are brighter and more nuanced than they appear in the catalogue illustration. The figure's skin has more of a rosy undertone, whereas in the catalogue illustration it appears more yellow.
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.

Van Dongen came into prominence as a Fauve portraitist and continued to paint colorful depictions of glamorous women for the rest of his career.  His vibrant portraits have often been likened to those of Matisse, who had shown the way in his two celebrated paintings of his wife, Femme au chapeau and La raie verte of 1905, both striking manifestos of the Fauve's radical painting style.

In the present work the uncompromising position of the sitter is heightened by Van Dongen's bold use of color.  The principle that the contrast of colors produces light is seen to full effect in the luminous skin of the model, especially the thick green shading above the eyes, along the nose and chin and the strong red and pink tones of the mouth.  Van Dongen's concern was, as he said, "to strip down painting to its essentials, to find inspiration in an art that depended on instinct, like children's art and folk art."