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  • Raoul Dufy
    Jun 3, 1877 - Mar 23, 1953
  • Mozart - Raoul Dufy was a French artist and designer whose paintings and prints portrayed leisure activities and urban landscapes. His distinctive style is characterized by bright colours thinly spread over a white ground, with objects sketchily delineated by sensuously undulating lines. Dufy took as his subjects scenes of recreation and spectacle, including horse races, regattas, parades, and concerts.
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Mozart
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  • Mozart

  • Raoul Dufy
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  • 1934
    Oil on canvas
    51 1/8 x 43 1/8 in. (129.9 x 109.5 cm.)

    Raoul Dufy turned periodically to the theme of great composers and painted homages to Mozart, Bach, Chopin and Debussy. Dufy's love for music dated back to his childhood. His father, Léon-Marius Dufy, was an organist and conductor for church choirs in his spare time. Dufy's two brothers, Léon and Gaston, were professional musicians, and Gaston eventually became a music critic who often supplied Dufy with passes to concerts. Dufy himself was an amateur violinist, but was more interested in being a spectator at the symphony than a musician himself.

    The present painting is a reworking of the first canvas in this series, Hommage à Mozart, 1915 (Laffaille, no. 82; Albright-Knox Art Gallery, Buffalo, NY). As is the case in most of these tribute paintings, the composer's name appears on sheet music which is set prominently in the foreground. This version depicts Mozart's house in Salzburg, as seen from a window across the street; the vantage point is indicated by the shutter in the left foreground of the composition. In addition to the house and sheet music, Dufy included a clarinet in this painting, which represents Mozart's sublime clarinet concerto, one of his last completed works. Regarding a related version painted in 1916 (Sold, Christie's, New York, 9 May 2000, lot 195), Lucy Lippard wrote:

    "Dufy had a life long attachment to musical subjects, among which references to Mozart's rococo forms often appeared. 'My eyes were made to efface that which is ugly,' he once said, and his art finally reflected his involvement with fashion and theatre design in its acceptance of the conventionally pretty. This painting represents a transitional period in which the remnants of Dufy's fauve and cubist styles provided a solid skeleton of angular form and bright color on which to superimpose the calligraphic motifs that eventually comprised his mature style. The flat and decorative central area contrasts with the weightier cubist periphery. House, horn and score are drawn, rather than painted, as are the curling lines of the sculptural pediment, ironwork gate and vine at the right. They are not fragmented and integrated into the whole as they would have been in a cubist work, but are separated and pulled forward as such objects often were in French baroque illustration and ornament" (in The School of Paris, ex. cat., The Museum of Modern Art, New York, 1971.)

    In the present painting, done nearly two decades later, Dufy added a painted trompe-l'oeil frame. This was in response to a commission from Mme Marie Cuttoli for a tapestry design based on the Mozart theme; the frame served as a border that added space around the painted scene and set off the Mozartean motifs. The final tapestry (Sold, Christie's New York, 21 May 1982, lot 409) shows the present original painting as seen in reverse.

    One striking element of Mozart is its overall red tonality. In the late phase of his career, Dufy became preoccupied with the phenomenon of tonal painting, in which one color dominates the entire composition. In particular, he espoused this method of painting with his musical subjects, for he felt the richness of one color offered a sensual and emotional intensity akin to the effect of harmonic tonality in the compositions of his favorite composers.

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Other paintings by Raoul Dufy:

Men Fishing
Men Fishing
Models at the Races
Models at the Races
Mozart 1916
Mozart 1916
Naiads, Shells and Horses
Naiads, Shells and Horses
Raoul DufyRaoul Dufy was a French artist and designer whose paintings and prints portrayed leisure activities and urban landscapes. He created airy washes of light and shade, into which he would draw bold calligraphic brushstrokes. The artist's experimental use of color was influenced both by Claude Monet and his Fauvist peer Henri Matisse. “Blue is the only color which maintains its own character in all its tones it will always stay blue,” the artist mused. “Whereas yellow is blackened in its shades, and fades away when lightened; red when darkened becomes brown, and diluted with white is no longer red, but another color—pink.” Born June 3, 1877 in Le Havre, France, he enrolled in night classes at the École des Beaux-Arts before studying under Léon Bonnat at the École Nationale Supérieure des Beaux-Arts on a scholarship. Dufy first encountered Fauvism at the Salon des Indépendants in 1905, after which he adapted the style to serve his own artistic purposes. During his life, the artist traveled both abroad and within France, painting views of the Mediterranean city of Nice, as well as scenes of horse races and regattas. Throughout the 1920s, Dufy worked in a variety of materials, producing ceramics, tapestry hangings, and large-scale architectural decorations. His commission for the 26th Venice Biennale won him the International Grand Prix for painting in 1952, a year before his death on March 23, 1953 in Forcalquier, France. Today, the artist’s works are held in the collections of the Musée d’Orsay in Paris, the Hermitage Museum in St. Petersburg, The Museum of Modern Art in New York, and the Art Institute of Chicago.