Medal Raoul Dufy Artist Mural Fairies Electricity 1965 Renee Vautier, Medal

Description

____________
171-tir79
Bronze medal, from the Monnaie de Paris (Cornucopia hallmark from 1880).
Minted in 1980.
Beautiful copy.
Artist /
Gra
veur / Sculptor
: Renée VAUTIER (1898-1991).
Dimension
: 68 mm.
Weight
: 153 g.
Metal
: bronze
.
Hallmark on the edge
: Cornucopia +
bronze
+ 1980.
Quick and neat delivery.
Support is not for sale.
Stand is not for sell.
Raoul Ernest Joseph Dufy, born June 3, 1877 in Le Havre and died Mars 23, 1953 in Forcalquier, is a painter, designer, engraver, book illustrator, ceramist, designer of fabrics, tapestries and furniture, interior decorator, public spaces and French theater. Raoul Dufy is the son of Léon Auguste Dufy and Marie Eugénie Lemonnier.
From 1893, he took evening classes with Charles Lhullier at the Municipal School of Fine Arts in Le Havre. He meets Raimond Lecourt, René de Saint-Delis and Othon Friesz with whom he then shares a workshop in Montmartre and who will remain one of his most faithful friends. He painted Norman landscapes in watercolor.
In 1900, thanks to a grant, he entered the École nationale supérieure des beaux-arts in Paris, at the Léon Bonnat workshop where he found Othon Friesz1. He draws a lot. His first exhibition at the Salon des Artistes Français took place in 1901, and then exhibited in 1903 at the Salon des Indépendants1. The painter Maurice Denis bought him a canvas. He painted the surroundings of Le Havre a lot, and in particular the Sainte-Adresse beach made famous by Eugène Boudin and Claude Monet. In 1904, with his friend Albert Marquet, he worked, still on the motif, in Fécamp.
In 1903-1904 and 1906-1907, Dufy stayed in Martigues in Provence and painted a series of landscapes representing the city and its canals.
Influenced by Fauvism and in particular by the paintings that Matisse exhibited at the Salon d'Automne in 19051, he worked with Othon Friesz, Raimond Lecourt and Albert Marquet on paintings of streets adorned with flags, village festivals, beaches.
In 1908, realizing the capital importance of Paul Cézanne during the great retrospective of 1907, he abandoned Fauvism. He carried out studies of trees, horses, models in the workshop, still lifes. That same year, he went to L'Estaque2, near Marseille with Georges Braque. They paint, often side by side, the same motifs as Cézanne, Dufy notably signing Arbres à L'Estaque.
He stayed in the free Medici villa, which welcomed young painters without resources, in Orgeville with André Lhote and Jean Marchand. In their company, he turned to constructions influenced by the beginnings of cubism by Georges Braque and Pablo Picasso.
In 1910, he produced the woodcuts for Apollinaire's Bestiary, he made others for the legendary Poèmes de France et de Brabant by Émile Verhaeren. This work gave him the idea of ​​creating fabric prints1
Les Alliés (1914), printed silk scarf, Le Havre, André-Malraux Museum of Modern Art.
Preparatory gouache by Dufy for the fabric produced by Bianchini-Férier.
Le Coq de la Victoire (1918), silk scarf designed by Raoul Dufy for Charvet.
In 1911, he married a woman from Nice, Eugénie-Émilienne Brisson (1880-1962). Called by the great couturier Paul Poiret who was impressed by the engravings of Guillaume Apollinaire's Bestiary, he embarked on the creation of patterns for fashion and decoration fabrics, the printing of certain fabrics is then carried out using of engraved wood stamps. With Paul Poiret, he set up a small decoration and fabric printing company, “La Petite Usine”. He printed his first hangings and fabrics there, which made Paul Poiret famous1. A year later, he was hired by the Lyon silk house Bianchini-Férier for which he created countless patterns based on his favorite themes (naiads, animals, birds, flowers, butterflies, etc.), which will be "put on the map. »For weaving on Jacquard looms. This collaboration will last until 1930.
Still influenced by Cézanne, his drawing however became more flexible during his stay in Hyères in 1913. In 1915, he enlisted in the army car service.
In 1917, following the acceptance by the State of the gift of the Leblanc collection and the creation of the War Library-Museum (now the BDIC and today La Contemporaine in Nanterre), he became assistant curator at the museum with the donor who wished to keep an official attachment to his work. It undertakes to enrich the collections of the Museum of the Great War (today the Museum of Contemporary History) by purchasing quality works testifying to the activity of artists mobilized or on mission during the conflict. However, he resigned in 1918 for health reasons3.
During his first stay in Vence in 1919, the colors of his paintings became more vivid and his design more baroque; his painting evolves towards a dazzling chromaticism of light and a freer drawing1.
He executed lithographs for the Madrigals by Mallarmé in 1920, he produced others for Le Poète assassiné by Guillaume Apollinaire). That same year, the Bœuf sur le Toit by Jean Cocteau was represented with sets and costumes by Dufy.
Spurred on by Paul Poiret, and eager to realize the effect of s
At the Geneva Museum of Art and History, 261 works, as well as ceramics, tapestries and books were brought together in 1952. In addition, 41 works are sent by France to the Venice Biennale. He won the painting prize, and offered the amount to an Italian painter and Charles Lapicque so that they could both stay in France and the other in Venice4.
Dufy settles in Forcalquier in the Alpes-de-Haute-Provence. It was there that he died, on Mars 23, 1953, of a heart attack. His last words were to ask his secretary to open the shutters of his room to see the mountain. After a provisional burial, the City of Nice offered a site at the Cimiez cemetery in 1956.
The art of Raoul Dufy
Impressionism
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Raoul Dufy was first influenced by Eugène Boudin and Impressionism, but he did not retain the comma touch: his on the other hand became increasingly broad and vigorous, as can be seen in Sainte-Adresse Beach (1904) and After Lunch (1905-1906). We must underline an early mastery of watercolor, and already hints of his own future style in a work such as July 14, 1898 in Le Havre where the colors are completed with Indian ink.
Fauvism
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Raoul Dufy discovers Henri Matisse and Paul Signac. In La Place du village (1906), the pinks and greens are taken in rather thick lines emphasizing the architecture. The shadows are clear. A small French flag in a still impressionistic sky announces the bright colors of the paved streets of Le Havre, which he will paint in the company of Marquet.
In Le Port du Havre (1906), the fumes of the boats are traversed by tremors and undulations which will be accentuated thereafter in Dufy's own style. The white spots of the hangars and the boats come, along with a few French flags, to light up an ensemble that is still a little too dull to be truly fawn.
On the other hand, the Pink Nude in the Green Armchair (Claudine de dos) (1906) is very clearly Fauvist. The palette is similar to that of Matisse from Collioure's Interiors or La Raie verte (Portrait of Madame Matisse) from 1905. It is necessary to notice the secondary planes treated by broad and parallel touches, which make think of Cézanne, although Dufy does not yet have a good knowledge of the work of this painter.
"In the Pink Nude in the Green Armchair or Claudine from the Back of 1906, at the Annonciade Museum in Saint-Tropez, Dufy, of which it is probably the only nude from this period, constructs simplified plans of shadow and light. on the contorted body of the model which he submits to his imagination of the form. The large patch of light covering his back, and the ambiguous play of legs plated with red ocher, responds to the light arabesque of the arm. This nude is a feat; what the drawing loses in sensuality, it gains in colored expressive force5. "
In the backgrounds of La Balançoire (1905-1906), the stick fingerboard reminds one of certain Vincent van Gogh from Provence. [Personal interpretation]
Cezannian cubism
In 1907, Dufy could admire the paintings of Paul Cézanne during the retrospective at the Salon d'Automne. In order to understand Cézanne on the very motifs he painted, he left for L'Estaque with Georges Braque, another adopted Havre, who attended the same municipal school of fine arts as Othon Friesz and Dufy.
In L'Estaque (1908), the shapes, just suggested by blue lines in the distance, recall Cézanne's Montagne Sainte-Victoire of maturity. The houses of the Village by the Sea (1908) are reduced to a simple geometry. The keys are "Cezannian" (oblique and applied with a flat brush), the tones are not very contrasting. L'Arbre à l'Estaque (1908) by Dufy could have been signed by Georges Braque des Maisons à l'Estaque (1908). Squared like pieces of rock, the houses of Braque and Dufy, are hardly more mineral than the sky, the sea or the trees. As with Cézanne, the real subject of their paintings is volume and depth. However, Dufy quickly escaped to other research, while Braque sought to develop and exhaust the resources of the geometrization of patterns.
"Trees at L'Estaque, which is at the Cantini museum in Marseille, belongs to a series of studies of volumes broken down into superimposed geometric planes framed by parallel trunks, sometimes bent into ogives
In 1911, he married a woman from Nice, Eugénie-Émilienne Brisson (1880-1962). Called by the great couturier Paul Poiret who was impressed by the engravings of Guillaume Apollinaire's Bestiary, he embarked on the creation of patterns for fashion and decoration fabrics, the printing of certain fabrics is then carried out using of engraved wood stamps. With Paul Poiret, he set up a small decoration and fabric printing company, “La Petite Usine”. He printed his first hangings and fabrics there, which made Paul Poiret famous1. A year later, he was hired by the Lyon silk house Bianchini-Férier for which he created countless patterns based on his favorite themes (naiads, animals, birds, flowers, butterflies, etc.), which will be "put on the map. »For weaving on Jacquard looms. This collaboration