Raoul Dufy. (1877 - 1953). Landscape with Houses and Cattle. 1930. Fauvism.
Classified in general with the fawn-coloured painters because one does not know where to classify it, Raoul Dufy has subject to several influences. Until 1905 influenced by Eugene Boudin it paints the seaside. When he discovers works of Matisse to the living room of autumn he adheres to the fauvism and its colors become bright. With Braque it follows with attention the work of Cezanne which confronts it with the problem of space and construction. It tightened cubist one brief moment but there remains attached to reveal the form and the structure in the picture. In fact Dufy took best at each movement. The art of the draft and the fluidity of the impressionist drawing, the force of the color of the fauvism and the reflection on the composition of the cubists. Its paintings are often characterized by broad coloured surfaces and a linear representation. There is at his place a separation between the color and the drawing. He explains it by the mechanism of the sight. The bodies moving print beaches coloured on the retina while contours are erased more quickly. The color persists while the form disappears. At the end of its life it paints paintings where a color dominates. Endowed for the drawing which at his place is extremely delicate it is an immense colourist and it has the art of the composition. It is undoubtedly one of the artists more under with dimensions of the 20th century although its paintings like and are often sold several million hundred dollars. Its work remains ignored enough general public nevertheless but its paintings are true invitations with happiness.
Pictorial space is inclined and the horizon is on one the higher third of the picture. The eye moves first of all towards the most luminous space in the center then towards the left, attracted by the very hot mauve color. Then it rises towards the blue of the sky then goes down again to explore the remainder of work. The point of view of the spectator is in the center. The spectator takes conscience quickly that spherical lines are subjacent with the picture. Unusual fact, the landscape is spread on what seems to be a sphere.
The painting is tallied perfectly according to the rule of the thirds. Near the natural points of interest the church and the houses are.
Space is defined a little as at Cezanne in forms colors but they are not also geometrical and especially there is a dimension that Cézanne does not translate it is the movement. Here the movement is retranscribed until in its memory.
The painting is built on the downward diagonal.
Time passes, the ground turns, the wind blows the sheets and the plants move, the clouds pass, the birds fly away, the men move. Only the animals seem motionless. Dufy retranscribes the movement by the color. By the image of the retinal memory of the colors what the spectator understands because he see it the every day in nature.
This church is similar to that of Van Gogh in the Starry night.
The plants are alive and vibrate under the wind.
These forms resemble human silhouettes having left their print coloured in space.
Birds which fly away, movement of sheets or branches, human procession, time leaves its mark by forms fluid flying and coloured in the paintings of Dufy.
The painting is enlightened of in top on the left.
Colors : Multiple contrasts between complementary.
Similars Paintings :
Raoul Dufy. The Grid. 1930.
Raoul Dufy. The Great orchestra. 1942.
Raoul Dufy. The Race Course of Deauville. 1950.