Threshing - Dufy - Framed Picture 11"x14"
Raoul Dufy was a French Fauvist painter. He developed a colourful, decorative style that became fashionable for designs of ceramics and textiles, as well as decorative schemes for public buildings. He is noted for scenes of open-air social events.
When he was 18, he started taking evening classes in art at Le Havre's École des Beaux-Arts. The classes were taught by Charles Lhuillier, who had been, forty years earlier, a student of the French portrait-painter, Ingres. There, Dufy met Raimond Lecourt and Othon Friesz with whom he later shared a studio in Montmartre and to whom he remained a lifelong friend.
In 1900, after a year of military service, Dufy won a scholarship to the École nationale supérieure des Beaux-Arts in Paris, where again he crossed paths with Othon Friesz. He concentrated on improving his drawing skills. The impressionist landscape painters, such as Claude Monet and Camille Pissarro, influenced Dufy profoundly. His first exhibition took place in 1901. A boost to his confidence: the painter, Maurice Denis, bought one of his paintings. Dufy continued to paint, often in the vicinity of Le Havre, and, in particular, on the beach at Sainte-Adresse, made famous by Eugène Boudin and Claude Monet.
Henri Matisse's Luxe, Calme et Volupté, which Dufy saw at the Salon des Indépendants in 1905, was a revelation to the young artist, and it directed his interests towards Fauvism. Dufy's painting reflected this aesthetic until about 1909, when contact with the work of Paul Cézanne led him to adopt a somewhat subtler technique. It was not until 1920, however, after he had flirted briefly with yet another style, cubism, that Dufy developed his own distinctive approach. It involved skeletal structures, arranged with foreshortened perspective, and the use of thin washes of color applied quickly, in a manner that came to be known as stenographic.
Dufy's cheerful oils and watercolors depict events of the time period, including yachting scenes, sparkling views of the French Riviera, chic parties, and musical events. The optimistic, fashionably decorative, and illustrative nature of much of his work has meant that his output has been less highly valued critically than the works of artists who have addressed a wider range of social concerns.
Dufy completed one of the largest paintings ever contemplated, a huge and immensely popular ode to electricity, the fresco La Fée Electricité for the 1937 Exposition Internationale in Paris.