KEES VAN DONGEN (1877-1968)
KEES VAN DONGEN (1877-1968)
KEES VAN DONGEN (1877-1968)
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KEES VAN DONGEN (1877-1968)
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Property Formerly in the Collection of Nancy Lee and Perry R. Bass
KEES VAN DONGEN (1877-1968)

Portrait de Madame Malpel

细节
KEES VAN DONGEN (1877-1968)
Portrait de Madame Malpel
signed 'van Dongen' (lower right)
oil on canvas
67 1⁄8 x 33 ½ in. (170.4 x 85.1 cm.)
Painted in 1908
来源
Charles and Marie Malpel, Paris (acquired from the artist, circa 1908, until 1966).
Galerie Jean-Paul Wick, Paris (circa 1967).
Anon. sale, Parke-Bernet Galleries, Inc., New York, 25 February 1970, lot 30.
Charles Tabachnick, Toronto; sale, Christie's, New York, 3 November 1981, lot 12.
Acquired at the above sale by the late owners.
出版
(possibly) L. Chaumeil, Van Dongen: L'homme et l'artiste, la vie et l'œuvre, Geneva, 1967, p. 273.
G. Diehl, Van Dongen, New York, 1969, p. 20 (illustrated in color; dated 1909).
J.M. Kyriazi, Van Dongen et le Fauvisme, Lausanne, 1971, p. 141 (illustrated with the artist in situ in his studio).
S. Pagé, ed., Van Dongen: Le Peintre, exh. cat., Musée d'art moderne de la Ville de Paris, 1990, p. 225 (detail illustrated with the artist in situ in his studio).
M. Vallès-Bled, Van Dongen: Du Nord et du Sud, exh. cat., Musée de Lodève, 2004, p. 34 (detail illustrated with the artist in situ in his studio).
N. Bondil and J.-M. Bouhours, Van Dongen, exh. cat., Nouveau musée national de Monaco, 2008, p. 178 (illustrated in color, fig. 36; detail illustrated with the artist in situ in his studio, pl. 60; dated circa 1908-1909).
展览
(possibly) Paris, Galerie Bernheim-Jeune et Cie., Van Dongen, November-December 1908, no. 62 (titled Portrait de Madame C.M.).
Albi, Musée Toulouse-Lautrec, Van Dongen, April 1960, p. 31, no. 17 (dated circa 1904).
Montauban, Musée Ingres, L'art contemporain dans les collections du Quercy, July-September 1966, p. 18, no. 80 (illustrated).
Paris, Musée national d'art moderne and Rotterdam, Museum Boijmans-van Beuningen, Van Dongen, October 1967-January 1968, no. 62 (illustrated; dated 1909).
Tucson, The University of Arizona Museum of Art and Kansas City, Nelson Gallery, Atkins Museum of Art, Cornelius Theodorus Marie Van Dongen, February-March 1971, p. 184, no. 67 (illustrated in color, p. 68 and on the front cover; illustrated with the artist in situ in his studio, pp. 32-33; with incorrect dimensions).
Fort Worth, Kimbell Art Museum, The Collection of Nancy Lee and Perry R. Bass, March-May 2015, p. 14, no. 6 (illustrated in color, p. 15; dated circa 1908).
更多详情
This work will be included in the forthcoming Kees van Dongen digital catalogue raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

荣誉呈献

Emily Kaplan
Emily Kaplan Senior Vice President, Senior Specialist, Co-Head of 20th Century Evening Sale

拍品专文

Contemporary critics of Kees van Dongen frequently praised the artist’s “Baudelairean gaze,” complementing his ability to capture the most nuanced details of a face, a scene. As the Dutch writer Carl Scharten observed, “What he sees, just so, instantly, as soon as it strikes him, that’s how it appears on canvas and paper; he can’t do it any other way” (quoted in A. Hopmans, All eyes on Kees van Dongen, exh. cat., Museum Boijmans Van Beuningen, Rotterdam, 2010, p. 21). In Portrait de Madame Malpel, the artist rendered his sitter, Marie Malpel, with perspicacity, eloquently defining face and playful pose. Her clothing is similarly detailed: soft touches define the smattering of sequins across the bodice and her patterned skirt. Shifting between sweeping brushwork to more staccato marks, the artist has achieved a refined portrait, evocatively capturing the delicate play of light as it dances over Madame Malpel, shown here against a striking red ground.
Evoking an aura of elegant sophistication, the painting of Madame Malpel heralded a new moment in the artist’s practice, during which Van Dongen began to turn his attention towards formal portraiture, what would, in subsequent decades, define his career. Previously, the artist had found his models in the cabarets and dance halls that filled the streets of Montmartre where he was living. He sought to capture the vitality of the French capital, celebrating, in paint, the city’s heady atmosphere in the first years of the twentieth century. “I love anything that glitters, precious stones that sparkle, beautiful women,” he said. “Painting lets me possess all this most fully” (quoted in J. Freeman, Fauves, exh. cat., London, 1995, p. 118). Van Dongen met the Malpels in several years earlier. In 1907, Charles Malpel, clearly thrilled by Van Dongen’s work, organized an exhibition of his art in Toulouse. That same year, Van Dongen painted his portrait as well as another of Madame Malpel.
In Portrait de Madame Malpel, Van Dongen presented his sitter in an embroidered shawl and dress. her hair adorned with flowers. Van Dongen often depicted extravagant costumes, relishing the opportunity to paint bright colors, intricate designs, and sumptuous textiles. The outfit shown here was influenced by Spanish aesthetics, and shortly after completing the present work, Van Dongen visited Spain and Morocco, spending around four weeks in Seville before traveling to Tangiers. He produced several paintings related to this trip that feature women draped in elaborately-embroidered clothing, such as Emilia Navarro (Neuchâtel Museum of Art and History) and Spanish Woman, held in the collection of The Pushkin State Museum of Fine Arts in Moscow. The works he produced during and after this trip formed the foundation of two important solo-exhibitions staged in 1911 at the Galerie Bernheim-Jeune in Paris: Van Dongen Hollande—Paris—Espagne—Maroc, and Oeuvres nouvelles de Van Dongen.
By depicting Madame Malpel à l’espagnole, Van Dongen aligned himself with a particular art historical tradition in French painting. During the nineteenth century, canvases by Francisco Goya, Diego Velázquez, and Francisco de Zurbarán, among others, were brought to Paris and displayed in King Louis-Philippe’s Galerie Espagnole at the Palais de Louvre. The impact of these and other canvases from the Siglo de Oro was profound and wide-reaching: as Charles Baudelaire noted, “The Spanish museum had the effect of increasing the volume of general ideas that you had to have about art…a museum of foreign art is an international place of fellowship, where two peoples, observing and studying each other in a more relaxed fashion, come to know each other and fraternize without arguing” (quoted in G. Tinterow, “Raphael Replaced: The Triumph of Spanish Painting in France” in Manet/Velázquez: The French Taste for Spanish Painting, exh. cat., The Metropolitan Museum of Art, New York, 2002, p. 38). To the French modernists, Spanish art expressed a depth of human feeling, represented formally through the rich coloring and tenebrism, and these images offered a powerful antidote to the neoclassical aesthetic and melodrama espoused by the Academy.
In both subject and style, Van Dongen’s Portrait de Madame Malpel is a nod to this lineage. Indeed, the colors of the present work are particularly vivid, and the fiery reds and blazing oranges burn brightly across the canvas. Van Dongen used electric lights to achieve such dramatic tonalities that appear to be lit from within. This masterful handling underscores the artist’s alignment with Fauvism, the movement conceived by Henri Matisse and André Derain in 1904 that made color both its subject and guiding structural principle. While Van Dongen did not exhibit alongside the “Wild Beasts” at the 1905 Salon d’Automne, he nevertheless became associated with them, and his embrace of vibrant, expressive color earned him a reputation as one of the movement’s most original artists.
Van Dongen’s portrait of Madame Malpel is one that radiates geniality and dignity. She stares directly outward, holding the gaze of both the viewer and Van Dongen himself to project an air of serene equanimity. She is a woman in possession of her own self, and her innermost thoughts and desires are hers alone. Portrait de Madame Malpel was previously in the collection of Nancy Lee and Perry R. Bass. Assembled over forty years, the Bass collection comprised the best of Impressionist, Modern, and Post-War art, with works by Alexander Calder, Henri Matisse, Claude Monet, Vincent van Gogh, Mark Rothko, and Auguste Rodin, among others. Mrs. Bass had a lifelong connection to the Kimbell Art Museum and the Modern Art Museum of Fort Worth, and the couple together supported the National Gallery of Art, Washington, D.C.

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