Régates à Deauville

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  • Condition Report

    Request Condition Report
  • Provenance

    Private Collection, Brussels
    Acquired from the above by the present owner in 1991

  • Exhibited

    Musée de Lodève, 2002-2009 (on loan)
    Tokyo, Musée Municipal des Beaux-Arts de Mitaka; Tochigi, Musée Municipal des Beaux-Arts d’Ashikaga; Musée Eki Kyoto; Musée Municipal des Beaux-Arts d’Oita, Raoul Dufy, April 18 – December 13, 2009, no. 27, pp. 44-45 (illustrated)

  • Catalogue Essay

    Composing an enthralling maritime panorama, Régates à Deauville is exemplary of Raoul Dufy’s unique contribution to the history of European painting. Celebrated for his unparalleled ability to capture the pleasure of leisure activities popular amongst the early twentieth century bourgeoisie, this paradigmatic work from 1934 utilises the artist’s revolutionary calligraphic brush strokes and characteristic washes of ebullient colour to grace the canvas with a unique sense of joyful dynamism. Depicting a bright summer’s day at the seaside resort of Deauville, Dufy returns to one of his most important observational themes – the sailing regatta – indulging in elegantly frenetic brushwork, and contrasting fleeting impressions of light and colour with the structural integrity of form.

    Régates à Deauville preceded a pinnacle of Dufy’s career: the grand fresco La Fée Electricité for the 1937 Exposition Internationale in Paris. Painted three years prior, when Dufy was enjoying success as a critically acclaimed colourist, the present work represents the sum of a career dedicated to stylistic experimentation. An interest in the fleeting moment and en plein air painting recalls his roots in Impressionism. The use of bright, flat colours also draw from Fauvism, which had a profound effect on the artist following a seminal encounter with Henri Matisse's Luxe, Calme et Volupté at the Salon des Indépendants in 1905. Contact with the work of Cézanne around 1909 fostered a subtler approach to colour, but one that nonetheless remains emotive and, in this case, symbolic. Insisting on deeply saturated aqua blues, bright whites and an impassioned block of red at the centre, Dufy evokes national pride though allusions to the French flag – a key coloristic theme and frequent subject carried forward from his earlier 1900s masterpieces.

    Following interactions with Cubism in the 1920s, Dufy fully defined his own unique aesthetic vision for painting. Here we see Dufy’s typical foreshortened forms and important use of modulated colour washes, accented by elegant graphic outlines. Each demonstrates his adherence to the theory of couleur-lumière, which privileges colour over black and white shading to capture impressions of light. As such, the viewer is captivated by Dufy’s intuitive approach: ‘the colour captures the light that forms and animates the group as a whole. Every object or group of objects is placed within its own area of light and shade, receiving its share of reflections and being subjected to the arrangement decided by the artist" (the artist quoted in D. Perez-Tibi, Dufy, London, 1989, p. 150.)

    Located on the Côte Fleurie in Normandy, since the 1800s the upscale holiday destination of Deauville attracted affluent French tourists to its wide sandy beaches, chic boutiques and elegant belle époque villas. Whilst, boats and oarsmen had featured in Dufy’s work as early as 1919, the regatta of nimble yet imposing sailing boats at Deauville fascinated Dufy from the late 1920s onwards. An earlier example of Régates à Deauville from 1928 can be seen at National Gallery of Victoria, Melbourne. This piece was followed by the important work Deauville, le séchage des voiles (Deauville, Drying the Sails) painted just a year before the present work in 1933, which is part of the Tate Collection, London. Four years later in 1938, Dufy would present another variation on the theme through Yachts dans le Port de Deauville (Yachts in the Port of Deauville), now housed in the Indianapolis Museum of Art.

    Dufy exploits the structural nature of his observations for thrilling effect. The solid grandeur of the background architecture contrasts with the movement of the buoyant sail boats, allowing him to exploit the full range of his characteristic painterly vocabulary. As with the equine racing scenes that he also painted in Deauville, these spectator events appealed to a generation of the interwar period, who cherished the unadulterated freedom and simple pleasures of leisure time during a short period of peace. As Gertrude Stein wrote of Dufy in 1949: 'one must meditate about pleasure. Dufy is pleasure. Think of the colour and it is not that, and the line and it is not that, but it is that which is all together and which is the colour that is in Dufy' (quoted in B. Robertson & S. Wilson, eds., Raoul Dufy, London, 1983-1984, p. 67.)

  • Catalogue Essay

    《多維爾帆船賽》 呈現一幅迷人的海岸美景,也是勞爾‧杜飛的對於歐洲藝術史獨特貢獻的經典代表作。杜飛善於捕捉二十世紀早期資產階級所喜愛的休閒活動而聞名,從這幅完成於1934年的精典之作,可見杜飛原創的奔放筆觸、暢流洋溢的色彩,在畫面上透露一種獨特的愉悅動感。當中描繪的海濱多維爾是當時的仲夏度假勝地,杜飛在此重返他最重要的創作題材之一:帆船賽場景,他用奔放卻優雅的筆觸,配合精彩的明暗區分和用色,將行船的迅速感與完整的結構形式形成對比。

    杜飛的顛峰作品之一是他在1937年為巴黎世博會創作的巨幅壁畫《電力女神》。《多維爾帆船賽》 完成時間比上述作品早了三年,當時,杜飛已是一位備受推崇的用色大師,呈現於此的拍品完整地反映了藝術家終其一生對於實驗性風格形式的追求。杜飛喜愛在日光下捕捉稍縱即逝的吉光片羽,他的表現主義根源可見一斑。杜飛於1905年在巴黎的獨立藝術家協會初見馬諦斯的《奢華、明鏡與喜悅》,這幅經典野獸派大作對於杜飛的影響深遠,或許他明亮卻平實的用色正是出自於野獸派的靈感。在1909年,杜飛在觀察塞尚之作後,用色變得更加精妙,但是依然保有其一貫的情感和象徵性。杜飛用濃郁的水藍、亮白和畫面中心一塊熱情洋溢的紅色影射法國國旗,透露對於祖國的自豪;藍白紅是杜飛創作的關鍵用色,延續自他的自1900年起的早期佳作。

    杜飛在1920年代接觸到立體主義後,奠定自己獨到的藝術眼光。從呈現於此的拍品可見杜飛典型的縮短透視型式、收放自如的用色和優雅的外描輪廓。杜飛在繪畫上的堅持展現他對於色光理論的忠誠,根據色光理論,在捕捉光的意象時,運用色彩勝過單純黑白。杜飛直覺性的繪畫技法讓觀者目不轉睛,如他所言:「顏色能捕捉光,而光構成物件並賦予整體畫面生命。將單一或是多組物件置於所屬的明暗空間中,每一個物件得到的反光都是藝術家的決定。」(節錄自《杜飛》,D‧派瑞茲提比,倫敦,1989年,第150頁)

    位於諾曼第繽紛海岸的多維爾擁有白沙海灘、時尚精品店、和雅致的美好年代別墅,因此從十九世紀早期就深受富裕法國遊客的喜愛。杜飛早至1919年的作品中已經可見帆船和槳手,然而他對於輕巧卻威風的帆船執迷鍾愛卻是在1920年後才發展出來。一幅完成於1928年的早期多維爾帆船賽作品現藏於墨爾本的維多利亞國家美術館。接著,另一幅重要的帆船畫作是完成於1933年的《多維爾,曬帆》 ,現藏於倫敦的泰特現代美術館。杜飛在1938年又完成了一幅船隻系列作品,《多維爾港口的遊艇》 ,現藏於美國印第安納波利斯美術館。

    杜飛將眼見的結構性轉化為令人振奮的畫面。背景中矗立著壯麗的建築與前景中海面上動感的帆船形成對比,靜動分明的整體畫面讓杜飛充分展現他的藝術語彙。他在多維爾也描繪賽馬之景,戰爭期間人們非常珍惜紛亂停歇時得以享受自由及和平時光的片刻,因此相當嚮往這類觀賞性的休閒活動。格特魯德‧斯坦因曾寫道:「我們必須冥想樂趣。杜飛就是樂趣。想像顏色不是顏色、線條也不是線條,而是加總起來的、便是杜飛自身的顏色。」(節錄自《勞爾‧杜飛》,B‧羅伯特森、S‧偉爾森編,倫敦,1983-1984年,第67頁)

  • Artist Bio

    Raoul Dufy

    French • 1877 - 1953

    Born in 1877 in Le Havre, Raoul Dufy produced a large body of work through the art of painting, drawing, printmaking and textile design as well as by creating woodcuts and ceramics. A leading member of the Fauvist group of artists, Dufy was heavily influenced by Paul Cézanne after encountering his work in 1907. He continued to follow the Cubist movement until 1915 when his artistic language truly developed and matured. 

    Dufy is known for his colorful series of works depicting leisure activities and landscapes. He revisited certain themes during his lifetime, including those from the French Riviera, opera, seaside, sailing regattas, horse racing and musical events. As Gertrude Stein once admirably said, "Raoul Dufy is pleasure itself." The joy and lightness conveyed throughout Dufy's work are not only due to the subject matter but the artist's distinct style and exceptional use of color. Dufy was often considered a follower of the two French eighteenth-century artists Jean-Antoine Watteau and Jean-Honoré Fragonard. In 1952, Dufy went on to win the International Grand Prix for painting with his commission for the 26th Venice Biennale.

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Property from a Private French Collection

Régates à Deauville

1934
signed 'Raoul Dufy' lower left
oil on canvas
33 x 82 cm. (12 7/8 x 32 1/4 in.)
Painted in 1934, the authenticity of this work has been confirmed by Fanny Guillon-Laffaille.

Estimate
HK$3,000,000 - 3,500,000 
€337,000-393,000
$385,000-449,000

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20th Century & Contemporary Art Evening Sale

Hong Kong Auction 25 November 2018