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Raoul Dufy, from pattern to color.
Exhibition catalog.

Raoul Dufy, from pattern to color.

Somogy art editions
€35,00 €0,00
N° d'inventaire 25458
Format 25 x 28
Détails 208 p., numerous color illustrations, paperback.
Publication Paris, 2003
Etat Nine
ISBN 9782850566202
From the beginning in 1907, and particularly from 1910, Raoul Dufy resolutely committed himself to the experience of woodcuts, creating one of the masterpieces of early 20th-century graphic art, the illustration of Guillaume Apollinaire's Bestiary or Procession of Orpheus. Marked by a fruitful commitment to the field of applied arts, the course of his career bears witness to the preponderant place given to artisanal techniques. The choice of works presented here underlines an interaction of different artistic expressions that prohibits any precise limit between the painter and the decorator, and justifies this reciprocity between decoration and painting claimed by Dufy. For the artist, both "quench their thirst at the same source." The presentation of woodcuts, textile projects, ceramics, hangings, tapestries - works accompanied by preparatory work that presided over their execution -, confronted with the painted work, testifies to the same inspiration that circulates from one field to another and affirms the complementarity of the various aesthetic expressions. Emphasizing the relationships between applied arts and pictorial art in Dufy's work, this work allows us to discover little-known, even unpublished, creations and themes, and offers an original reading of an essential page of modern art.
From the beginning in 1907, and particularly from 1910, Raoul Dufy resolutely committed himself to the experience of woodcuts, creating one of the masterpieces of early 20th-century graphic art, the illustration of Guillaume Apollinaire's Bestiary or Procession of Orpheus. Marked by a fruitful commitment to the field of applied arts, the course of his career bears witness to the preponderant place given to artisanal techniques. The choice of works presented here underlines an interaction of different artistic expressions that prohibits any precise limit between the painter and the decorator, and justifies this reciprocity between decoration and painting claimed by Dufy. For the artist, both "quench their thirst at the same source." The presentation of woodcuts, textile projects, ceramics, hangings, tapestries - works accompanied by preparatory work that presided over their execution -, confronted with the painted work, testifies to the same inspiration that circulates from one field to another and affirms the complementarity of the various aesthetic expressions. Emphasizing the relationships between applied arts and pictorial art in Dufy's work, this work allows us to discover little-known, even unpublished, creations and themes, and offers an original reading of an essential page of modern art.