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The Yellow Console with a Violin
Raoul Dufy • Painting, 1949
Description of the artwork «The Yellow Console with a Violin»
The Yellow Console with a Violin was painted without taking into account the perspective that Raoul Dufy had brilliantly mastered. In the 40s, he increasingly abandoned linear perspective and simplified his palette as much as possible. In this case, we have a virtuoso drawing before us, it is executed with the special elegant negligence of Raoul Dufy - the shining yellow, the black and white music sheet and a translucent background below. At the same time, the picture is striking in its colour richness. It seems that we have fifty shades of gold in front of us.
Dufy used to not conform drawing and colour, the coloured strokes usually go beyond the drawing lines, including this technique, which allowed him to achieve an amazingly graceful seeming negligence. The viewer’s attention is drawn to the music sheet, a kind of centre of the composition; due to its asceticism, it seems to multiply enhance the radiance of the golden color that was used for both the console and the violin. The instruments are only separated by the lines — those same carelessly graceful lines by Dufy that make up one of his peculiar features.
The Yellow Console is painted confidently, it produces a sense of integrity (given the Dufy’s inherent lightness). His experiments were over, the artist found himself and his niche. Music and musical instruments, along with the sea, regatta, horse racing, secular life and flowers, enter the circle of Raoul Dufy's main subjects (Homage to Claude Debussy, Homage to Bach, The Mexican Orchestra, The Red Concert).
("Homage to Claude Debussy","Homage to Bach", "The Mexican Orchestra", "The Red Concert").
His artworks of the late 1940s and early 1950s won the Grand Prix at the 1952 Venice Biennale. Raoul Dufy, who had just recently recovered his health in an American hospital, gave his award to support young artists and moved to Provence.
Author: Aliona Esaulova
Dufy used to not conform drawing and colour, the coloured strokes usually go beyond the drawing lines, including this technique, which allowed him to achieve an amazingly graceful seeming negligence. The viewer’s attention is drawn to the music sheet, a kind of centre of the composition; due to its asceticism, it seems to multiply enhance the radiance of the golden color that was used for both the console and the violin. The instruments are only separated by the lines — those same carelessly graceful lines by Dufy that make up one of his peculiar features.
The Yellow Console is painted confidently, it produces a sense of integrity (given the Dufy’s inherent lightness). His experiments were over, the artist found himself and his niche. Music and musical instruments, along with the sea, regatta, horse racing, secular life and flowers, enter the circle of Raoul Dufy's main subjects (Homage to Claude Debussy, Homage to Bach, The Mexican Orchestra, The Red Concert).
("Homage to Claude Debussy","Homage to Bach", "The Mexican Orchestra", "The Red Concert").
His artworks of the late 1940s and early 1950s won the Grand Prix at the 1952 Venice Biennale. Raoul Dufy, who had just recently recovered his health in an American hospital, gave his award to support young artists and moved to Provence.
Author: Aliona Esaulova
