Kees van Dongen

Madame van Dongen, Monte Carlo
Private Collection, Switzerland (and sold: Sotheby's, London, December 3, 1986, lot 229)
Private Collection, London
Wilton Antiques, London (acquired by 1989)
Private Collection, London
Richard Green Fine Paintings, London
Acquired from the above in 2003

London, Richard Green Fine Paintings, The Spirit of Impressionism, 2003

This work is in very good original condition. The canvas is not lined. The colors are remarkably fresh and well preserved. There is a five inch faintly indented horizontal line in the upper right portion of the canvas which appears inherent to the work and does not detract from it. Otherwise, fine. Under UV light: There are three small strokes of retouching in the white pigment in the woman's skirt.
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.

Painted during the height of his career, Au casino de Deauville exemplifies Kees van Dongen’s immersion in the decadent lifestyle of the bourgeoisie. Van Dongen was entranced by the spontaneity and verve of the upper class modern life, and he became among the best-known social figures in the French art world, frequenting the seaside resort Deauville, a hub for high society vacationers. There, he developed a reputation for enjoying nightlife, cabarets and the leisure activities of the wealthy; he once said, “I passionately love the life of my time, so animated, so feverish. Ah! Life is even more beautiful than painting” (Denys Sutton, Cornelis Theodorus Maris van Dongen 1877-1968 (exhibition catalogue), University of Arizona Art Museum, Tucson, 1971, p. 46).

Van Dongen's affinity for brilliant color and flair for rendering swift movement were ideally suited for depicting the vivacity of Deauville's aristocratic vacationers, as they congregated on the beach by bathing tents or within the casinos, such as in the present work. He captures the subtle details of the latest fashion, such as the peplum skirt of the woman in the left foreground and the sensuous line created by the backless dress of the woman in green, as he mimics the smoke filled atmosphere with the hazy room encompassing his figures. Critic Édouard des Courières at the time praised “the freest and most emancipated treatment since Rubens,” and the painter’s “prodigious instinct. One has to go back to Frans Hals to find this powerful verve and generously creative vigour” (Édouard des Courières, Van Dongen, pp. 9 & 29, quoted in The Montreal Museum of Fine Arts & The Nouveau Musée National de Monaco, Van Dongen (exhibition catalogue), Montreal, 2008, p. 260).