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The Italian Woman Qabala Madonna and Child Blessing Femmes egyptiennes au bord du Nil -32- The Captives Harrow Hill Wenatchee Recreation by our Gallery canvas paint Portrait of a Man Sheaves of Wheat in a Field -nn04- Venus and the Graces offering gifts to a Browns Piscator look you now,you see him plain Francisco de Goya Bridge The Temptation of St.Anthony art pop Snow Storm The Virgin of Chancellor Rolin Meghradzor LUINI, Bernardino A Modern Olympia Self Portrait Still Life with Dead Hare and Fruit The Posts -19- In the Pergola Roman Charity A Warrior BALDUNG GRIEN, Hans Stapleton Park near Pontefract Nazareth Searlesvalley Roseville Mercury Appearing to Aeneas Denton A storm off the coast of Brighton Terrace at vernon BIONDO, Giovanni del Montagne Sainte-Victoire
Dufy Raoul:
Le Havre 1877-Forcalquier 1953 was a French Fauvist painter. He developed a colourful, decorative style that became fashionable for designs for ceramics, textiles and decorative schemes for public buildings. He is noted for scenes of open-air social events. Raoul Dufy was born at Le Havre, in Normandy, one of a family of nine members. He left school at the age of 14 to work in a coffee importing company. In 1895 when he was 18, he started evening classes in art at Le Havre Ecole des Beaux-Arts. He and Othon Friesz, a school friend, studied the works of Eug??ne Boudin in the museum in Le Havre. Raoul Dufy, Regatta at Cowes, (1934), Washington D.C. National Gallery of Art.In 1900, after a year of military service, Raoul won a scholarship enabling him to attend the Ecole Nationale des Beaux-Arts in Paris, where he was a fellow student with Georges Braque. The impressionist landscapists, such as Claude Monet and Camille Pissarro, influenced him. Introduced to Berthe Weill in 1902, she showed his work in her gallery. Henri Matisse's Luxe, Calme et Volupte, which Dufy saw at the Salon des Independants in 1905, was a revelation to the young artist and directed his interest towards Fauvism. Les Fauves (wild beasts) emphasised bright colour and rich bold contours in their work, and Dufy's painting reflects this approach until about 1909, when contact with the work of Paul Cezanne led him to adopt a somewhat subtler technique.








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