Kees van Dongen

Private Collection (sold: Sotheby's, London, June 30, 1987, lot 41)

Acquired at the above sale by the present owner

 

In very good condition overall. The painting has been lined though the surface is intact and the colors remain lively and stable. The top half of the picture is in lovely condition. There may be only a few tiny spots of restoration around the extreme edges. In the lower portion of the picture where the figures get larger, there appears to be some retouching in the lighter colors of the figures. The color of the figures turned away in the lower right, the dresses of the two women and the face and collar of the male figure all show a few minor retouches, as do the hat of the woman on the left side and the collar of the man in the far left.
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's colorful rendition of the dance hall known as the Moulin de la Galette is an exceptional Fauve interpretation of a theme made popular by Renoir in 1876.  Le Moulin de la Galette was a mill that derived its name from the pancakes that were sold there, and the dance hall itself was a large shed between that mill and another one called Le Moulin Debray.  In the summer months, the festivities would move outside, where tables and chairs were placed alongside the dance floor. In Renoir's iconic Impressionist picture (one version is at the Musée D'Orsay; the other was sold at Sotheby's in 1990), we see the revelry of the attendants as they dance, drink and intermingle under the acacia trees at mid-day.  In the present work, Van Dongen provides us with a more interpretive depiction, capturing the energy of the scene through his expressive and colorful dabs of paint in the upper-half of the canvas.  Along the bottom we see the faces of the attendees, two of whom bear the large-eyed gazes that would become characteristic of van Dongen's Fauve portraiture.

The present canvas dates from circa 1906, when the activities of the Fauve painters were at their peak.  The year before, van Dongen, Matisse, Derain and Vlaminck had exhibited their work together at the Salon d'Autumne, where the vibrant colors and expressive brushwork of their pictures earned them the moniker "wild beasts."  The painters made the most out of their rebellious reputation and soon became the darlings of the avant-garde.  Le Moulin de la Galette exemplifies the spirited endeavour of this ground-breaking movement in 20th century art.