Eadul DUFY—CONTRIBUTIONS to CONTEMPORARY CREATIVE EXPRESSION

Raoul Dufy; contributions to contemporary creative expression

Item Type text; Thesis-Reproduction (electronic)

Authors Dalton, Jack Kimbell, 1921-

Publisher The University of Arizona.

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Link to Item http://hdl.handle.net/10150/347623 EAdUL DUFY—CONTRIBUTIONS TO CONTEMPORARY CREATIVE EXPRESSION

- • by .

Jack Kimbell Dalton

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\ A Thesis / , s ubmi t ted ' to . the ■ yaetalty of the Department of Education in partial fulfillment of the requirements for the degree of ' ■ MASTER OF ARTS in the Graduate College, University of Arizona

1951

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: TJ.BLE OF CONTENTS :

Chapter . , ' ■ - \ / ' ' . . Page

' IMODDCTIOM »• o = = > V = » a o o „ ; o =„ 1

lo BIOGRAPHY- . o o o c , « » c Y • 6

■: ypCT10a s V . . S c h o o l s o o o o Q O O O O 0 O O O "O O l o

IIo PHILOSOPHY OF ART 0 0 » o-V 0-.. . 1 c « >; 0 2 6

1 1 1 . ART EDUCATION . '.'o'.; o » » o . . , = ;' ' 3 9

Philosophy » ...» = ,= v ° ° ° =' - = <=: - o-; 3 9 Applications to: Primary and „ / ; ‘ , Secondary EGucatioii o » = » . = » ...

1 7 o RAOUL DUFY IN TUCSON = 0 -v■. . . . . , ' = 5 ?

CONCLUSION o. o o o o A A o c o o o . . . , ? 3

BIBLIOGRAPHY . . '= i = :. o L' , o . o . . 83

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TC€AS)C / •BREFAGE'

My dear: Jack Ealton : > ;/v : ,

A I ;waa^/to- congratulate you and th an k ::yQU f o r -the : ;

scrupulous care that-you have giveWthis thesis i ; ' ^ :'/'{V.-: on the'Fine Arts which you _ - .dedicate to the young artists /'\ i of your country,: : ' . ' ; . . The young artist ought not to count-on learning all from ': instructiohV: ; v-; -: however excellent • may, be its methods , ;VSurely? Art nourishes itself-on examples of the past; but it is at the same :' time in constant stru g g le ' . i-r with itself, . ,

/s/: Raoul Dufy AOKNOMLEDGMBNT

. It Is with, sincere appreciation that acknowledgment Is •given in due respect for the innumerable acts of helpful ness which made this thesis possible,, The results are com pletely unworthy of the superb advice and invaluable help which was given this w riter * Grateful acknowledgment is made to Dr 0 Go K®. G arrets on for his general help and cooperation; to Dr = Glen H 0 N elson for his encouraging assistance; and- to Dra Loyal A, Gryting for his' French translations o ■ Special thanks must be given to Madame Berthe. Belpeche who, in answering queries and offering advice from,her un measurable store of knowledge, proved her unending friend ship? to Mro James P? Scott and to Mademoiselle Lueienne Andre whose patience and dutiful performance enabled much detailed and explicit informatibh| to Miss Gloria Wyeth who spent endless hours assisting translations with her immense knowledge of descriptive French interpretations? and to Miss Mary Elizabeth Death under whose magnifi cent tutorship such a study was brought from adolescence to maturity = ; ; Also, my sincere appreciation to the many cooperative a r t i s t s % e d u c a to rs 3 and museum d i r e c to r s 9 both here and abroad^ who so willingly expressed their help for this re= s e a rc h 6 Forever present in this helpful fellowship was the continuous assurance; the skillful observation; the smooth and diplomatic tongue 9 'and the keen and surveilant voice of directlon—Mr„ Andreas Ae Andersen= Finally, position of.which increases with importance, I wish to thank for their "Divine Intervention" =* Mr St He Ko D alton and Mr s «, J 0 F= Kimbello AUTHOS !S NOTE

This unique opportunity 5 which afforded the untold e c sta sy of spending some th re e months -8 time in the immediate company of BAOUL DUFY 9 has been unexplainably magnificent^" always gracious f w illing? and excessively cooperative in his plain and - beautifully expressed interpretation# When I was first instructed to be Dufy8s silent pro= tege during his rest and recuperation in Tucson 9 th e ,e c ^ static and overwhelming surprise completely surpassed the dream that such a close and personal study might one day be posgible^-or permitted# However 3 such permission was grants edo The days of observing 9 dictating, and recording, went sw iftly, and each momentous rendezvous opened spontaneous realms of unexplored caverns and pathways which heretofore were virgin lands of unadulterated m aterial 0 Haoul Dufy’s greatness as an irtist i s equaled by his greatness as .a Man,:whose keen understanding and incomparable wit prove his unchallenged position both here and abroad# • He stands alone===-and my humble MThanksM and. unending debt will be forever his for affording me the opportunity of being his temporary 83A id18 and partial biographer#

; Jack Kimbell Dalton May, 1951 DEDICATED TO "Munner, and H arriett® inmoDncTioN

. - It has been claimed by John -Dewey that there is no inherent- difference:h fullness of activity and ar tistic activity ; the latter is ' one with 'being fully: alive® Hence 9 it is not something possessed by a few persons and setting them, apart from the rest of mankind? but is the normhl or netur &1 himan he ri tage ® Its spontaneity is not a guih$ ;but is the naturalness proper to all organised energies of the live creature« Persons do? however^differ ,greatly in their,r.espective measures^ ■ -C. All of us- can feel a difference^ says Andre.-Malraux? - when,: after visiting a display of children's drawings we iadye^-on: tb:;ah ::a r t, gallery i we:: have le ft an 11 a rt1® that is all surrender to the world; and now are contemplating an attempt-to take possession of it a And :at. once we r ealize how the: mere fact of being' a • man means -possessing^ and: to what i extent« in this field 9 as in so many others? the attainment: of manhood links up with that of some form: of mastery of the. Outside worldo . ' , 1 / 0: The teaching of the plastic ■arts (apart from mere;

' Bcha effer-Blmmern® Henry» ' The Unf olding of litis tic M i M M r p .. > ; ■- - o i .■ ... . .^ Malraux, Ahdrio The Psychology of. Art, p. 127® (Translation by Stuart Gilbert) ■ training of .the MM) is% therefore, nothing more than the teaching of the significant elements of a style 5, or several : ' ■' ' " 3 style St. Academic drawing is a rationalized style <, At the dawn of talent 9 says Eugene Delacroix^ there is something naive and bold at the same time 5 recalling the graces of childhood and also its happy freedom from care as " . : - . : - : - - . : : • A . . : \ to the conventions which govern grown meno ; Raoul Bixfyj who is a recognised great French painters agrees in philosophy with the statement made by John Dewey? that a fullness of activity is an artistic activity, and also that the degree of measure varies greatly within the individualo The impor tant conclusion is s however j that artistic activity is a fullness- of activitye The charm of the childfs activity 9 of his artistic productions9, comes from his being completely free and un- inhibi ted in his playful spiri t-^the charm of the child 6 s a c t i v i t y 9 of the child's drawings? comes from their being foreign to his w ill 9 and once his will comes into play it o fte n ru in s theme; . , , It is here that correction must be made in order, to m odify 9 because of growth and maturation 9 this dampening of spirit in our onee-ambitious and uninhibited studento

Malraux; Andre« The Psychology of Art? p= If7® (Translation by Stuart G ilberti

^ DeiaeroiXy Eugene<= The Journal of Eugene DelacroiXo p e 6 3 8 0 (Translation by Walter Paeh) • ' .v % : . . . ' . 3 -;- & rtlstie' activity-".the fullness; of" activity which is ' - shown by youthful enthusiasm 9 en erg y 9 and an eagerness for : expression—mus t ;' tie ..encouraged and enriched in his training, from his first day of schooled instruction to his lasts . . . Neither is he mature nor is he completely, independent when he has graduated from whatever schooling he has had-- ■ - he m il keep on learning 9 observing? and absorbing? but it is hoped tha t 3 because of his indoc trination of her t^t u ’ academie. poiicies in his . early training? he m il prosper in his mature lifeo It is hoped that he will be able to pull • together- his smattering- of knowledge» and, by doing so 9 w ill continue to enlarge his fullness of activity 0 t . : ; - . " , This activity? this fullness of actiyitys,' was and is for Raoul Dufy"a continuous process« His early schooling? because of a large family 8 was terminated at ,a very early age ('fourteen) # however y his training - and schooling on "his own initiative was all the more enhanced and enriched by the few years- of superb. teaching he did have as a young boyo . ■: y;. . Dufy feels that a firm foundation and an explicit under standing of all that is' taughth re gar die s s of grade le vel— ' ■- but particularly in the lower grades 3 will, bring about a fullness of aciivity~~will; bring about a warmth of belonging 3 and w ill therefore enable individual creatiyify to bloom md _ express itself more ac cur at ely=“•more freely; and whi ch in turn Will have meaning both for the individual and for edu=- eationo . - . - , r .-h ; ■' v ' . ■ 4 - For> and to 3 Art there is nothing more spontaneous and more heautiful in spirit than the early uninhibited messages 9 draw ings 9 and; interpretations of children^ Such sparkling individual expressions are creativity personifiedo How true is the foregoing statement by Malraux that 11 with child art we see a surrender to the worldo' As we grow we feel we must masterj we must possess and exhibit our individuality! there fore, through training 9 through fullness of activity 9 such released energies are accomplished» • And for.the a r t i s t 9 as he grows^ he must learn to control this fullness of activity; he must learn to master ' h is dr earns I he must remember what tie has been ta u g h t of the plastic arts 9 which are nothing mbre than the teaching of the significant elements of a ,styie? or of several s t y le s — he must have a keen observation and must with his whole spirit of individual interpretation.be able to speak clearly in his portrayed creativityo

' Problem I t i s h e r e 5 with this in mind$ that the purpose of this study is to show and. explain via Raoul Dufy how 9 in an in d iv id u a l 3 creativity has evolved from a fullness of active ity from early youth up to and including his present activ i t y 9 which has been strengthened to an even more powerful and enriched degree throughout the intervening years 0 This research is a study of the life 9 work 9 and artistic methods of Raoul Dufythe philosophy of the school of artistic .expression.which he- represents;?; and its application to- the problem of Art Edueation at the primary and. secondary levelso

y ; :v ■ : "' ;' ;Proeeduf@. ■. ; : y ' : : This, study was made possible partially by the historical research which has previously been accumulated and w ritten on; Raoul Dufy; howeyer, the greatest part 5, and perhaps the most valuable part 9 .of this research is the personal data, infor mation, history 9 and anecdotal records which Raoul Dufy gave' personally and. exclusively to this w riter«. As Raoul Dufy said, to me j "This information which I have given you is. for A ll the young * c r e a to r s f; who; may some day b en efi t from what" I. have given you 9 and from what 1 have said hereo" ■, ■ : ' ' " : , 'BIOGEJ&PHY -'"-Vv : . ■ =■ . ' \ ■ '

I877 Baoul Dul'y was barn the tbird of June at Le Havre^

. He bas elgbtCbrotbers and sis ter o _■ - 7 .' " V :v

1891 . " Ddfy'*3 father was a director of a firm which ; -dealt in metals = "His father was interested in politics and ■:

-was - also a. mu si clan 0 - His father; founded. L aM altrise at .St® . - ‘.

Joseph at. Le"Havre, where he was -the master of the choir, : ; ":

. :7 and where Dufy' s oldest hrother Leon played the organ® " " Gaston," another "brother, sang in the sopraho sect!oh and" ' . :iBaoul..sahg with the alt os o.. 1 -1

• 1895 The family had a difficult time finaneialiyc;. - worked with my Father in his office until I entered the - ' husihess. of a coffee importation firmy as an apprentice . ." clerk, where. 1 stayed untLl I entered my period of m ilitary service ® I wor ked all. day , and" at night 1 used to go to the school of '-Beaiax Arts, at Le Havre, there I met" Gthon Priesz0 ■

: ' ';i: " 3ho schoo I-, th e .Beamc Arts of Le Havre, was ; ; ’ directed v>y Professor Charles Lhulller, a f ormer pupil of " - ' • Caba-nel ahd an. admirer of Ingres; and the ins true tlOh "by : this/ trha artist. Was :for P and myself ah excellent point, of 'departure=- Here I learned the rudiment s of painting 0H' / ■ 1899 . 181 lived this year at Paris and in Rouen 0 B efore this time I was on m ilitary service for one year o My brother daston? in the same situation as myself 5 but in music? was able to join the Infantry Regiment of Le Havre where he entered as a musician in. the band ■which accompanied

the Regiment e I became s 'because of th is fact^ freed from th e Army S e rv ic e (A rtic le 21 ) 9 and I therefore returned to my study—my brother exonerating me from serving in the Army It was shortly after this that 1 obtained an allowance from the c ity of Le Havre of 1200 francs a year which would main™ tain me for five years 8 and would permit me to go to the school of-Beaux Arts at Paris where I found my good friend Orthon Priesz in the Atelier of Bonnato '8 . .

1900 "At the Atelier % in Bonnat ’s class in Paris 9 1 found that all my companions spoke only of Rafael 9 Titian^, G orgione 9 and all the other great Italian painters 3 but I understood nothing of this talk) and I thought that this was not at all what I wanted to do— also 3 that I was never going to th e:Louvre oH At the louvre he felt "awkward and out of place when surrounded by a ll the engulfing master™ pieceso" . ■ .; . "Impressionism was bornc," Dufy said 9 "betw een Le Havre and Paris in the bay of the Seine with Boudin, Claude Monet 9 and Jongkindo I was finding in the pictures of these Im™ pressionists.delight before which my eyes were opened™™ - ■:al i s - very excusable " my Indifference to the conslderatlbn of the works of the ancient masters^ altered and diminished by time and by the varnishes of: the restorers of pictureSofl : V ■ H ereafter? Dufy avoids the' museums and spends much of his time at purand Galleries 5 where the paintings of the impressibnists are shown» U1 preferred the little Rue la Pitte which is the student s 8 quarters in Mont mar te 9 w ith Dm" and-Ruel and Vollard« because it was there that I :was able to see and' to understand the importance of viiat the impressionists were accomplishing^8' In this district many . w riters and:'artists ■.of ::the time were 'rubbing elbowsv ;, Pldas s o ? tie ra in 5 Braques Utri llo s Modigliani^ Van Dong en ^ : G ris? Valadon? Salmon, Mac-Orlan, Dorgeles, Carco, Warnod» ‘Jacob, and many others* During:thls period he met.Matisses - The- passageway .leading to the studio vhere Dufy was living, Wieh he shared with three others (artists), was so very haffdw, in CRiDI^S OF PRESENT DAY PAINTIIG, that when one day Jean d© Bennefbn came to v isit Dufy and compared it to his waist lineV he decided to pay his call on the thresholds It was here with these fellow artists, f rie n d s 5 and studentsin this contagious atmosphere of ex- -, citement and creativity that Dufy's color sense developed so very rapidly—it was here that he joined in the experiment

y Raynal, Maurice® " Modern French Painters* p« 79* of th o se who were ■ l a t e r c a lle d ' 85The F auves0M The in flu e n c e , of Van Cjogh 9 whose paintings he had seen.; and of Matisse^, counteracted *atever distaste he had acquired in the Atelier Bonnate His techniques and talent -began to express his pan orama of rhythmic color o He did not 9 however 9 show at this point in his development 5, any great concern for the culti vation of line$ for-drawing? perspective 5 or for composition® It must be said that Dufy never showed any great enthusiasm for the cultiva tion of drawing and compositiono He . . expresses his feelings directly<> His drawing is usually a bold and flexible . arabesque 5, which goes its own way 5 which lives its own life 9 and i f ‘ 1 may say so 5, and viiieh is only saved from ■ collapsing-dismally at the end of 'its sweep dr colliding with the frame $ by the acrobatic dexterity with which it is conducted® In the work of Dufy? it is these'arabesques ^ fertile with a lovely graphic fullnessV that guide " the composition of the painting = 2 88The work - of. Cezanne that I saw at Vollards I understood only a long time after having admired Monet 5 R en o ir .9 and Sisley® ^

1901 "For the first . time 1 exhibited at the Salon ties Artistes Independants 5, where there was hung the admirable retrospective (exhibit of the.paintings) of Van Gogh®" This painting of Dufy* 85 , Fin de Journee au Havre ? definitely shows the Impressionistic influence®

2 Baynalg Maurice® . Modern French P ainters® p® 79® ; 1905 ’ ; : saw the canvas of Matisse^ Luxe Calme e:t : Volupte, which, opened my eyes to a new wdrld. This picture made a very great Impression on me, and I already baxre Said ■that here I found a new reason to paint; having admired in the painting of Matisse the. introduction Of the: inagination of colors, which is for me • the poetry of painting oM ■; - : -

1906:’ ;■■ / ;' Dufy more or less abandons pure color in this - ’ ' period, and feeling his way,' moves in the directi on Vnich • /haS: air eddy ^been isi^h^pdsfted .by Cezanne. Dufy applies himself tbithe problems of color vhich were investigated by MatiSsev'and by'Picassoo His palette Shows^a definite change, in thisperiod from :19Q7 to 1911$ and h is. paintings:, show a., new and: great S ever It y of s tyl e: and an added and he# inter est in arehitectural , cons tructiono In this hew trend of ' paintings, whichwas divorced from gay and sparkling colors, h is: paintings were no longer in demand—nor did they sello

1908 In the exercise of; the aesthetic of the; art in th e ahoye 1907 peripd, Dufy painted at L'Estaque where ”1 met Braque . = and-"we,work together® The work and the re- \ searehes. o f:Brapue :had pleased me very much, even before th is ’time®; 'My wbrk-.was hot entirely along the same line as . : his j but was :ciose;;;: period Guillaume - -. Appolinaire, who- asked,- me to illustrate his qua trains on - LB BESTIAIREo on Cortege d,s Or-phe = I spent a year engrav- - ^ in g :!lhW:tthirty: pih to# wooden td,-; for ' th is "book which had not ' ■ ■: ■ ; .. . ■ 11 a single trace of success when it appeared® And, in. 1917 during the F irst World War c, the publisher Deplanehe 9 in .despair over' the unsuccess of the book 5, sold the fifty copies left to him' out of the original hundred copieSj for twenty francs apieceo"

1909 Dufy visits Munich?.accompanied by Othon Frieszo It is here that he paints' his first boating scenes on the Marne0 /L . \ ■ , -' ' '

1911 iflhe wood engravings which I made in 1908 gave me the idea of using such engravings for designs on matee rials. Reasswed concerning. the future of my painting? based on the axiom 6light equals color $6 with' the help of . Paul Poiret and a capital of 2^00 francs which he advanced ’me? I rented at 104 Boulevard de Cliehy at the back of the court the former studio of Cormon?• where 1 installed a factory for dyeing and printing m aterials= I engaged a chem ist by the name of 2Af ferleauv who rms assistant .to Bosensthiel at 8Arts and Crafts, 8 I transformed a bell-boy from the hotel Bits into a printer of materials 0 I designed the models and I myself engraved the blocks of wood? for I had not, the means to employ speeiallsis=-my capital having rbeen completely absorbed in my setting up this business0 l,2Ifferleau? who was a true specialist in colors and in p r in tin g from a viewpoint of technique ? did so well that a t. . the end 6f a two months6 period I was able to do business with ; \ ::;, ■ ' ; ■ : ■ V ..^ 1 2 ;- Poiret and Bianchini 3 who then proposed that I enter his ; magnifidaht busimss as Iptistie BlEeetor=, i did«, and I ' ymrked with him for fifteen years * I learned there many things| aiaong other things s certain, methods of work having . ' to do with color ? printing? @tCo =, which'were ordinarily im- knowri to o th e r a f t i s t s of th® day^t$

1920 ; ; uNaturally, these methods of work, of which I ; ' have jmsh shdkehf:^permitted the ^Indus trialist'' in me to . . •take again my place in the life of an A rtist—and it is • thus^ i n 1920«, I was at. Venice vhere. I :• painted--"enlarging and facilitating; the techniques ihieh I discovered at St® Adr.es s.e in 1907 0* I made #e acquaintance of Artigas 9- a , ; ceramist ? and I s always- attracted .by the technique of c r a f ts 9 decorated here ..both enamel and earthenware vases «*' ‘:

'' -192 1' MBefore quitting for good the business of dyeing and printing m aterialsr I discovered and established the means for. - painting large. .compositions on large lengths of .- materials in fast colors? and I: made fourteen large such . I-icompositions''"for Paul 1 P o ir e t0n . "'..' / : ,;:v

. • • I922 h.o.o i t rave lin g itt S ic ily ? Borne 9 and. in Florence ? xdiere I was so fascinated by the small Sicilian carts and / '-Wagons which were so.gay and beautiful with color ? that I /; took up again my life of painting®M '

.i t/.'' 1 ^Explained in Ghapter l l . ' V 'W5: 1925 $,I took a trip to Morocco and did a series of watercolorSo My life in painting continued to develop in doing water colors 5 sketchings) and painting o”

1926 Dufy exhibits at Bernheim Gallery, and he paints a triptych representing the road from Vallauris to Antibes= He does the sets for the ballet Palm Beach®

1927 Dufy does a series of watercolors at Nioe®

1928 , He paints for the most part in this period at the Bois de Boulogne in Paris® :

1929 . Dufy goes to Deauville to rest and to paint o

1932 Dufy .does pottery with Artigas<=«=designs a drawing” room suite for the great Beauvais; tapestry factory® In this period 31 Pierre Camo saw Monuments of Paris sketched in ovals for the magnificent tapestry room that the.factory at Beau- vals was making from Baoul Dufy8s sketch®"

1936 "My friend Mallet Stevens asked me to do for the Palace of Light, which was being M ilt for the Exposition Cthe Paris Exhibition) the following year, decorations of which the dimensions were 60 meters long x 10. m eters in height (about 3 0 s x I 8 O5)®. That is to says 600 meters square® I was a little overwhelmed, but being ever imprudent, I ac cepted® I chose the subject which I proposed to the Companies

3 Camo c, Pierre® R aoul Dufy® o® 57® ' = . ■of.- PrQdtSetisa of liedtffelted-:: J.was going to. u ndertake the rHis.tor^: ;of - lie e tr ±eit-y^ ^sino^. :;the magnetic phenomena of the Aurora Borealis'.up to the. transmission of wavelengths 'across space. i One. year after % i whs able to "d ei 3> er my work ' to: the" noimittee :of > the, Bzpasitlon» I had paint ed about; two hundred: and fifty figures in natural size entirely by my own hando This will-be certainly the biggest picture - . which; 1 w ill ever; dOj and 1 thought of my friend. Appolli= ; naire. who had once said to me', 8 0ui Dufy, surtout pour les petites choses (Yes^ Dufy ye specie, lly the little things) 161<; 'r-Th#.;#tiabliSMm the Palace "of E le c tr ic ity , drew h is 'elo'qu.ehee"'with the same clearness of conception0 The im*= ■ • " " - I t : ' : . - : portanee o f: 1th dimensions: made; it a . work more v a st in s iz e . - - th&h:'ahy: to::;.have:. been .given: &' painter to execute dWing th is - : particular time, , ":; - 'tt> - '; -1'.; : y . - . , : - : ;v The ;:siibj.eet.;::ehoseh by Dufy consisted of representing - ■ I; tiid history of the g.ene;ratlon oree .and^ light, The dif^ - fieulty was to make concrete in an image 3, a Scientific Ab^l' /;;;

The. painting was a vast and. magnifi cent garden of forms . of colors, where« ah' in an -enehanfed.land9‘ gods and goddesses> ; " th e sun ahd: th e ; moon, • - th e s ta r s. and: ■the' come ts,s. .the- th u n d e r; -and the rainbow? presid.ed at. a show of the 1 P roduotions . of -/I : Mature and the Inventions of the Human Mind !8 ■■ One sees theres f forests: and rivers, which provided the fire and water'f the . h i % . "h/-- ^ ". - Earth: 'Supplying Its fruits - ard harvests § the Arts with their . - . 15 - ' : stock of tools and craftsmanships; and the experimentsof .. . :r . Seienee ' and her discoveries carried up to that particular . i v' . day; so that on the edge of the painting there was a dif- i . ; fusion by waves of a huge Symphony orchestra® A wide border V' on the bottom reproduced with, a rigorous exactitude the -Tiise' ;j: . : - ' : Men and. Philosophers : to whom? since the time of Thales§ ; fr : i: :. , A ristotle g, ; and Archimedes ? humanity is ihdebted - for it s " : h- ..: ( \ - v-. 'knowledge» , > ' ' : V'i;v: ■ ^ ■ . ';.,v - The allegory® the fable, the legend were all used to- . g eth er topresent the freshness and charm, of the reality of .ih 1... ' -vNatiare: and. S eientific :Truth= h;:; .';; v. - h::'- Over: the whole' shone a richness of color in which the exact order of .the. seven shades of the prism were deployed *■ : in a fan from one ' side to another--with the yellow as a. . center where the sun' shonea '• hi.- h t -hiI . : v .-, ^ Maurice de Vlaminck says of this work of Dufy 8 s « "The i 1 ); 1 h ' big? great) huge decorations that he. executed for the Elec= . ; ir; -1 trical Palace for the Exposition of 1937 class Dufy in the .' - : ■1/i :. first rank of the; Master Decorator s of the .twentieth:-'i'. ,^ ■.... v'

■ Qentiiry,," ^ ^

/ ;■ 19W :::i- - 'b - M1 was very serious ly taken by arthri tis and . . ; ; i : rheumatism in this period $ and 1 was obliged to take -refuge - v ; ;:i-i : near my friend Dr® Nicholau$ whose care enabled me to con- - :-’V. tinue. to paint» I painted a series of pictures of or chestras : ..

" -- de Vlaminck« Mauri ceil iPor traits.- Avant Deces 1 ;271V,i‘;i ' - ■ ' ; 16 and of studios f and a copy of Renoir’s Le Moulin d@ la Galetiteo » - ' -' V . ' ■ ' ...... - Dufy was working at Ceret Were Pierre Gamo and Dufy8s former collaborator Art!gas were with.Dufy® Pierre Gamo says that Dufy was forced to stop work here for awhile $ because of his arthritiSo . Then5, later on? Dufy went to Perpignan where he saw many concerts and became fascinated with the musicians9 the players9 and the instruments. Much time was spent sketching here<> as he was passionately in terested in music® The country around Languedoc offered him subjects of harvest9 and other surroundings .connected with the harvesto He found further reason to do a still life and a beautiful interior painting $, and tsI 9 Pierre Gamo, ' further saw him execute as if amusing himself? a copy of Moulin de la Palette Q which is as fresh and as gay as; the o r ig in a l®61 ^

19W ’’My arthritis obliged me to take a rest9 forcing me often to stay in bed? and in turn procuring for me more moments for my meditation than 1 had been able to find in my former ,and very active lifeo' I used my ingenuity to find mental problems in painting ? for research on these problems interested me more than the solutionso I was much tormented by the role of color in painting | perhaps an answer would be

3 Gamo o Pierre® Raoul Dufy0 p6 70V 17 found in my work of the future^ For the moment the answer is given in Le Violin Bonge- and Le Cargo Noir (The Red Violin and The Dark Seascape)<,,f It is in this period that Albert Bkira says9 Today our great colorist maintains - that "dolour is hot painting*" Ih contrast with Matisse § who has .never wearied of chromatism^ Dufy confine himself to what he calls ftonal paint=> ings,1 iee05 reducing the number of colors to a minimum» Thus he has painted pictures in a single tone, as- f o r example % The Red V io lin ., in which apart from the white-^red is the sole colour employedh Dufy has also paint- . ed a Dark Seascapeo This picture calls to mind a remark once dropped by Matisse, to the effect that, with.black, . a painter ean convey all colours”®

1950 Raoul Dufy accepts the invitation of Dr* Freddy Homburger to come to the United States for treatment of his arthfitiso He arrived in the United States in April and was admitted to the Jewish Memorial Hospital in Roxbury, Massachusetts * After much improvement from his treatments of ACTH and Cortisone, Dufy began to paint in and around the hospital* Later, after more improvement, he began to sketch about the city of Boston, and eventually. New York*

1951 Raoul Dufy arrives in,Tucson, Arizona,'the twenty^ second of January, where he has been sent for rest and relax ation, and continuation of arthritic treatment *

Skipa, Alberto The His tory of Modern Painting * p= 134 c aCHQOEB

r’ ' ' I t was somewhere* between-1901 and 1906) under the im- : pulsion of Matisse5 Braque^. van Dongen? Maurice de Vlaminck, '' RiODL DUFY, and Orth on Friesza that Pamvism was born as a :: ■ disciplinary: reaction against the deliquescence of the -1 Academic and Post-Impressionis tic Schoolse" ; , ; : ■ '■ AlbertSklrasays, .. ^ - : ; ■ It is unquestionably Henri Matisse .; / % ' 1 : ; ■ who = m th his ■intense . physical delight I ; .V: ^ : in color and the Matibre of Painting ? , 'V; 1: V ushered in this movement^' : ; % The circumstances under viiich: the artists dubbed ' \ : ' sFauvese (literally Wild Beasts); acquired this sobriquet. ■ ■ ; ' ; are eornmon? .says A lb ert S k ir d t'■-1 At th e 1905 Salon d ’Automme? : ' a gallery was reserved for the works of• the new groupy and! these provoked an outburst of indignation ..recalling that . r : - thich greeted' the advent of Impressionism® . Louis Vauxeelles $ noticing a - small. ch lid .8 s head 5, of Florentine inspiration^ t:: 'Vt in a corner " of : the;, room exclaimed r Htookl there rs a Dona- , ' tello cowering in this den of wild beasts (fauveslo18 The ' term caugh t ' on and eyen gaye birth to a new ! ism, 8 Pauyismv : Ahd this room at the exhibition came to be called 'the 8Wild-

^~Haynal a • Mauriceo Modern .French P ainters» h» 3 =

": v.: ■ : ; ' '?• Skira, Albert®: The His tor y of Modern Paintings ( ' \'art movement with the name under which it :" has taken its place - in historye . > ■ ' -iC . : :: / vi X ■ / The young painters of this period^ the Fa mm 8 ? as they : -were called, tried to .earn their livelihood on lines which certhinly had not yet won the approval of the general public ; These paintera proclaimed ? hWe must start by killing off ' what went before us 9"—thus' Marquet, M atisse, Camoin, Man- ■ gui% Friesz, and Dufy, Puy5 Derain, Laprade, Chabaud and ; Braque; were to be classed as- the outstanding figures: in • this . new movement and school®^"y '. ! , The 'Fawes .were ; a group of artists from the School of I ■Paris whb had seem^ to: the publie to be so savage and ; / : strange in.their approach, so enraged$:that spontaneously . y t thOF;: WdS; the ;pubiic :think\Of' and' agree to their name— ;. savage beasts. . ::y;' -: ; •''’F&uribe: de Vlaminek said that, "Fauvism is a revolU” ■: t ; ti bhary exaltation which to ok i t s inspiration^ its emoti on,' i'ahd its expression from the sources of life itse2f o,$d - : ■ There was during this period, in these artists, a de- : sire;.to get away from the academic of the time, a desire to

:• -3' Skira, Albert. The History pf Modern Painting,, pt 17

' tiSia., P. 1 7 .: V y : ■:

5 de Vlaminck, Maurice. Portraits Ayant DeOes. p. 1 1 1 . ■: ; ; 2 0 escape to more realization of the trutho To accomplish ' ' th is2 says Rene Huyghe$ the artists turned to individualism? to the cult of personality? often confused with originality or simply temperament? 1,3 and to the c u lt , of those things within themselves that refused to conform to the accepted standards of the timeo That was the particular contribu- ' :; ' ' ' & ■ tion of Fauvisms To the Fawes, as well as to the Cubists and the Impres sionists 8 painting was primarily a matter of line and color assembled in such a way that they gave visual pleasure.1 dr. „ satisfied an intellectual needo : Dufy painted a certain number of pictures in the highly colored manner of the Fauveso The effects obtained, says Christian Zervos, were very facile, very flexible 5 while Matisse, Derrain, Vlaminck, and Friesz sought the transpo sition of things in getting away from their real appearance and in adding the maximum effect of color to their aspect® Dufy drew up his tones directly within the things, in choos ing subjects where transposition was no longer necessary (such as publicity posters, curtains, costumes, and illus= tr a tio n s K ^ The Fauves wanted to bring for th a reality other than' that of mere appearance, a reality apprehended by their

rghe, Renee The.Contemporaries« French p e 60o

7 Zervos, Christlane H isto r ie de I'& rt Contemnorain, p . 127. - imaginative vision alone| and above a lls they wanted to build with eolor0 For what these painters pointed the way to was practically a re-invention -ofthe art of p ain tin g and in putting up opposition to the tendencies which had predominated until their times the Fauves gave Academicism a battle which knew it was aboutV For the Fauves were es pecially set on the abolition of all technical.methods which sponsored formulas of art obsolete to their mind® Albert Skira says they would have nothing to do with perspective and a ll its workS”=@ege9 the rendering of volumes 9 illu s io n -. 1st.chiaroscuro9.modeling9 and the like* The flat art of the primitives of all periods won their favor $ and they were drawn to the *0-ethics* and their tendency to replace purely p la s t i c by ex p ressiv e, art.®® The Fauves took to painting in flat color as they found i t in the above-mentioned Primitives—in stained glass windows? and in Japanese prints® Their aim was not a question of reconstructing llfels emotions in the manner of representational art => their aim was to render the sensations of life itself; not to imitate nature^ but moreover9 to act as nature does - to Create0 But soon there were certain doubts that began to float about: in the minds of the FauveSg certain hesitations; how ever, they never lost the early z e s t for their freedom—but ■ ... ; ... ’ . ' ■■ : ■ ■ -22 in this freedom there are always certain dangers9 which th ey began- to recognize ? and with a backward glance to Cezannethe great architect? they conceived the idea of giving color the task of imposing its own discipline—space was solved toy the relative intensity and distribution of ■ the tones'""light was no longer a source of illum inations tout moreover? was a source of intensity? and sim plification warranted the m ultiplicity of tones® In short? says Albert Skira? a new grammar was devised? formulated in terms of each artist's personal loglc®^ , - - -■ The school of.the Fauves actually lasted long enough? in the space of five years? to give the world some magnif" , icent works of art which were expressed in dynamic color® It could be said here that in actual philosophy Fauvism was more an artistic than a deeply human movement® It was around 1911 when Matisse began to see where Fauvism would lead if carried to its limits? and he preferred not to go:because of his fear of breaking with that tradi" tional reality of nature with which he could not break® There were around twenty artists who took more or less an active part in this school? Fauvism? and at one extreme there were those artists who took to heart the principles solidly and firmly with no variance whatsoever? with no compromises whatsoever® / There were on the other side? those

9,gkira? Albert® The History, of. Modern Painting^ p. 18e 23 whos while drawing inspiration and knowledge from Fauvism looked again? looked back?- and looked, forward? and thus developed an _eclectic. art-=where Dufy placed himself9 From this school Rene’ Huyghe says that the real spirit of the Fauves can only last in ornamental transposition in the manner of Dufy® Dufy’s charming fantasy and his versatile decorative qualities? his daggling sense of design? promised great things at the time when the Fauves were aetiveo His genius for ornament? says Easier and Kunstier? has created'a smart? pleasing? and lively style® This gaily colored sense of design? decorated with arabesques fu ll of fancy? has. made 11 Dufy’s fortune® They go on to say further that Dufy is a great colorist and one of the greatest decorative artists of our time® His caprice brightens textiles? carpets? and rare ceramics? where his luxurious Modernisms sport in wit tily designed conceits torn from the secrets of the ancient Persian or Indo-Persian craftsmen® The harmonious melody of his brilliant palette transports pictorial art into the kingdom of the fairieso-^

^ Huyghe? Renef® The Contemn p® 60

r n hasie r and Kunstler® Modern F renchFrenchEa P a in tin g ® p® 44

12 I b id ®? p® 43o Alfred ,Frankfur ter said. that Fauvism was essentially the last rebellion in .the long revolution against pure Im pressionism 9 and while, talking, about an exhibit here, in the; : United States of the Fauves, says that it is the first con centrated 'collective showing of the earliest of the great twentiety-century painting movements which began :in Paris' •, in hr around 1904 and was; over; by 1907= Of this exhibition Frankfurter, has further to say that Braque, Dufy, Derain, and Vlaminck^ utilized their new^vibration of color with s till more youthful vigor--Dufy coming off with an especially strong group of paintings in which broad, loaded brush strokes are just as incisive as his tender caligraphy of rece n t years’ t ; •

Dufy in his sincere approach to individual creativity • fell in line, for a few years, with a group of painters called the Fauves—in the beginning here he was in agreement with the majority of their ideas| an insistenee for a new speech, a new manner of approach, to flee from the* Academic and Post-Impressionistic schools; a school which took its inspirations and expressions directly'from life itself f a school whose philosophy made an attempt to bring about a; f

Frankfurtef $ Alfred Mo "Reviews and Previews," , -Art News, XLIX (December, 1950), 46. ; 25 r e a l i t y of their own creation from reality itself| a school where eolor—-pHre? thick splashes and strokes of co lo r—= were of sincere importance in the building up of their com positions i a school where aeadanie teachings 5, such as per spective^ volumes% chiaroscuro (light and dark) took a 8 back seat* and were priim rily forgotten; a school whose aim was to render the sensations9 the pulsations of life itself— not to im itate Mature $ but to act as Mature $ herself $ does— to Create*. At the present time Dufy has progressed to still a greater height of creativity because of his intelligence to: take from such:a school of Pauvism only enough of the prin ciples which he could digest and disseminate as he dido His mind is receptive and thoroughly analytic—and therefore enables him to be eompletely independent to any hard and fast label—or tag* - - .W hile associated to the Pauves> he was never a 6dyed in the wool11 member; moreover % he was more an eclectic - he took from the flowers in that garden only from those whose scents were pleasing and acceptable to him® For Dufy knew well there were s till unexplainables which must be in vestigated® and he was forever searching for improvement— nor has he slackened his pace today* His continuous probing9 painting <> and experimenting is the same today as it was yesterday—using always his openi, investigating eyes 0 CHAPTER I I

PHILOSOPHY OF ART -

“Up to this points 1907^ I had painted landscapes 9 beaches 5, and streets as gaily as I saw them„ I admired the Impressionists3 but I was ignorant of what they were really after = of what they really wanted® But even so, my tech nical knowledge adyaneed and I began to take.museums more, se rio u sly o “My concept of painting had changed» I admired above all Delacroix5, and I was obliged to state and admit that I had in painting always needed to lean on Nature and , funda mentally g I was only a landscapist6 “At this time I felt differently and my aspirations be came more elevated o' I asked myself how I was to paint great compositions5, the faces9 and in sum, the paintings which are found in Nature® ' “How to paint the colors that the eyes do not see—-how not to copy Nature, and yet give in a picture the feeling of the true, and of the real® “At Le Havre one morning, tired of making landscapes of the beach at Bt0 Adress, I made a decision—I resolved to give answer to this problem—-the problem that I was tired of making landscapes, and was tired of asking the above questions o “The elements of the problem were on the one side idth Mature—-’her light 9 her color s and her r eaiity^-and the ' elements of the solution which I must find were in my box of color So . “It was a question of finding the relationship which existed between the sensations perceived by my eye and the use which I was to make of the colors (which were) in my tubes9 in order to give a.just part to each color in my pictureso ' \ : “Even into what I invent and into the things of my imagination 1 wish to put the force of Reality® It was then that Cezanne came to my help and inspired me with the axiom-= Light equals Color= ■ . “It was a question for me to give the feeling of Reality-' more by. the truth of the Light than by the diversity of C olors o .. • - , “In order for me to simplify the axiom3 I reduced my palette to the following colors at this times Five Basic Colors* >= I® Yellow oere 4® Emerald green Clear yellow \ . . Zinc w h ite 2i Red ocre Ivory black 3= Prussian blue (used only with zinc white and not mixed with other color s) o Ultramarine blue® ■ ■

*Bee P late No® 1<> I decided that the point of densest color of things found itself at the center of forms* I found that the color degraded itself in going to the edges of: the forms ■where i t « the color % became shadow; not the east shadowy but a shadow^- the . absence of light. . : - I ; . ’therefore ? since light is color9 shadow is absence of ' eolqr™=-l decided for me then/ that Shadow was White» I mean that for objects entirely in shadow you can draw these in black and. white without coloring them with their own tone "Then I took a leaf of paper and lithographie pencil/ very black9 and'I.drew' several of the houses on the beach; I accented the shs-dows of the walls and roofs? and shadowed with large hanehure marks all the borders of the forms ? leaving the middle of each form whit@~~reserving it as a place, for color = , ’ • ’ "The houses, were of red briekg the slate roofs reflecting the blue sky? and the verdure was green» I put the bricks down as red in the space which‘was reserved for it in the houses—a blue-gray in the space which was reserved for it in. the roofs s and green in the middle of the masses of ver-= dure—leaving the borders of the objects simply outlined in black** ■ ^ ■ - “When I had finished this very rapid sketchy I found myself in the presence of a landscape which had a density of

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( y t ) y, Av^y 7<^ '/s+rt^j / j ~ ' - vy-r ^* * *' C^r cdcytfweJt Cubism was once for Picasso or Braque| Lineal Sketching for Matisse— for Dufy it is the rough sketch of actuality® Not the cha racter $, the gross daaraeteuring of Toulouse-Lautrec9 but the rapid Impression and mobility0“ ' ■ Maurice, de Vlaminck says, for Dufy the essential thing Is the brush stroke® the Arabesque which charms the eye by

1 MalrauXj, Andre® The Psychology of A rt«- p® 121* its gr-aee and lltems'Se, W-u.sb stroke^ schema tie: and Intelligent"-the Art, of Dufy is. light: % graphic-.; ammsimg % hut it- Is no lo n g e r s. questlom there' eC paiuflng^of' pr-o.found and enduring: feeling-»*»o.ne finds there the r-ee.al.X of thlhgs . made young again which have the perfume of old things™- reminiscences float agreeably; simplification of the tiles and earthenware of Delft, English, engravings? embroideries which.Dufy adopted for his own and brought up to date in.his designs and his printed cloths at the Bianchini company»3 In Dufy8 s painting, whether in oil or water color can be seen brilliant application of color which intentionally - 15thumbs its nose6 to any restricting lines of drawing0 - He believes that color must not always be restricted by such a :boundary as fline, 1 inasmuch as the effect of color goes be yond the physical lim its of thejobject to which it belongs— and at times in reverse, the color seems to be swallowed up by the surrounding colorSo • Dufy is one of the most, outstanding of the modern ' draughtsmen0 His lines have a precision, a knowingness of supreme command and a breath - of freshness comparable only to the line drawings of Picasso«- ' Shat h s; most, original kith Dufy is his lias on of - forms and spots of color® One of the most remarkable el mien ts of style that is personally Dufy1s came to him from Cezanne0

3 de Vlaminck, Maurice«. Portraits Avant Deees, p0 270o It .is the famous divorce of line and of c o lo r» With Dufy the ■ method is used exclusivelya. The splash of color does not coincide with the form, hut it is not a case of simply going over. the -edge;; hut they, the 'splashes of color, are centered differently, and oftimes apart, from the line drawing0 ' ;' The effeoh:is made even more dlffieult to analyze, since with Dufy neither the form or the splashes of ■color have hie same discipline, the same fixity as* with Cezanne'» The trait has been called borrowed—it .is the graph!sm of Matisse, - only more rapid, like shorthand, and the splash of color .cor^ respondisnequally. m th the fleeting vision of the for mo One understands a picture of Dufy’s in taking it apart— it is like a book Wiich has more than one theme» The vision is: much more analytical than that of Braque, much less con densed* - This graphic. shorthand of Dufy’s may be compared to the ‘quick and spontaneous impressions of a child, who when he wishes to describe tells a story incompletely, mentioning only the striking incidents® And therefore, Dufy appears as the true Interpreter of Primitive art which the others, his fellow Fauvists, have preached without recognizing:® The Primitive artist wishes to depersonalize, to abstract, to represent, but not to imitate® Dufy has precisely under-/ stood' this attitudet He is the. man who has best understood what comprises the idea of the symbol® 1 The discovery of the plastic value of the symbol of irrealism is obviously af the foundation of the studies of the preceding generationo It is present in the works of a Matisse9 of a Braque9 of a Picasso9 hut it is with Dufy that it reaches its .great" est height 0 It is' with this--with, the discovery of the values.plastic^^that Dufy has captured one of the fundamental tendencies of his epic9 that which leads to true primitivism in contrast to the false art of the Neo-Primitivists who are deformators of a rt9 and of the truth® Towards 1902-04-9 Dufy followed very closely Monet? Jong- kind and Degaso And after this9 the direct influence of Van Gogh (in-Dufy*sMoisson In 1928) shows clearly in his tech nique $ and he practiced a style which was related to that of : Van Dongen and Matisse® (Both artists were in the beginning of the Fauvist School») It is towards 1906-07 that Dufy evolved the conception of reducing his subjects to the bare -.essentials? as in a poster? and he embarked on his project of a schematic choice of c o lo rs ® . . ' ' Nevertheless? his Vues' de TrouvilI©«was only retf eatment and redevelopment of the style of' Monet and Manet before 1870, Only after the war? towards 1919? did Dufy discover his truly individual style influenced by the decorative artists of the tim e.9 ' - - - % : ; Dufy adopted resolutely the formula of the 8Xdeagramo8 The Riviera would be a pine or a palm tree associated with 9wiggly8 lines which would signify the sea® Like the true primitives $ Dufy .no longer proceeded by condensation of his : subject; but rather by a repetition of a small number of very representational themes* • At the same time he renounced all illusionism - perspectiveo His horizon would be round; or his episodes (situations id.thin the composition) would be superimposed on the canvas without any unity of perspective^-a distant " memory of Japanese a rto . : ' The unity of:the canvas in Dufy^s art was achieved by the systematic character of his wrlting^like line; . and no longer by the Ilfe-llke illusionism of the perspective* Dufy inspired most of the modes of his time§ and he was not alone in his completely new seientifie. curiosity | but he is. one .of those who prepared the' decisive revolution of our -' time by insisting on the importance of the idea of choice* , .It is: not difficult to compare the work of Dufy to that of the Japanese poets „ Both have in common the technique of reducing statements of impression to the barest and simplest of facts* It may seem to some perhaps that the paintings of Dufy appear:to be like the drawings and ?doodlings8 of the . primary grade school student; however; with careful study and observation; the :same cfitic Will see: the drawings to be results of careful selection:w ith nmch: elimination and spon taneous sim plifi catlbho Dufy, may be compared to the ancient woodcutters and. the sculptors of .the Assyrian monuments$ inasmuch as he does not . ' .. . / ■ 35 attempt any deceptive perspectives—nor is there any imitation of depth| rather ? there is a flat pattern of design or drawing-==or of botho The aesthetic quality of his work? says jari Gordon3 de« pends principally upon .pattern* 'while the emotional quality . ' .■ r : . ■" ' ' k is, derived from a subconscious descriptive force® With Dufy art p asses from the plastic theme to the graphic themey and the young painters of today owe Dufy on® of the essential aspects of their method. ' Jan Gordon says that in painting9 Dufy presents perhaps one of the most forcible illustrations of restlesness which modern.developments have forced upon the intellectual artist® Dufy is conscious of what must be shaped by the a ftis t9 but has often been somewhat irresolute as to the means by which this product may be reacheds . He seems foeever to be arrang ing his color to, explain and interpret his message0 ■ He sees beauty—never the somber or sad—and he quotes in. gaiety and in smileso' He .is9 moreover^ an imaginer rather than a c o l d ,: speculative analyst®^ It is here that Dufy also agrees with Eugene Delacroix, who says that "scientists do no more, after all, than find in nature what is there® The personality of the scientist.is ';

Gordon, Jan®.. Modern French P ainters® p® l$k-0

P Ibidc, p» - ' absent from his workf it is quite a different matter with the artist. The seal that he? the artist, imprints on his production is what makes it the work of an artiste, which is ■ to say9 of an inventore The scientist discovers the elements of things 9 if you lik e,, and ..the artist; with element having no value in. the place they chance to be$ composes - invents a unity; in. one word—creates; he strikes the imagination of men by the spectacle of his creations; and in "a particu= lar mapnero He summarises; he renders clear the sensations that things arouse within us9 and which the great run of ■' ' " " ' ' ■ " 6 men9 in the presence of nature9 only vaguely see and feel* Dufy9 around the period 1926§ states Reginald Howard Wilenski; has attained to ever more'brilliant dexterity-- and the vital gaiety of his color and engaging lightness of his calligraphic drawings have become more irrestible each ye art The subjects of his pictures are: scenes-of mundane life at the racess impressions of Lendon$ Deauville9 the Riviera^ and studio sednes and studies» But these subjects are merely jumping-off points for an art that is wholly and delicately conventional; an art in which the azure radiance of the Mediterranean or the glitter and sparkle of cold Northern light are wittingly recorded in symbols invented

Delacroix; Eugene* The Journal of Eugene Delacroix (Translation? Walter Paeh) 8 p*^420-21* '7 . for each othero ' Baymond Cogniat says, that Dufy does not ask'colored' ; .pigments to pose as matter that is real=««such as flesh; - or'metal? or wood; he stays in a strictly pictorial and technical sphere| and yet? his art does not stiffen into any kind of abstract affirmation® Nothing seems less cerebral than a painting by Dufy9 and yet? nothing is more thought-out in its.every detail® Dufy recomposes light; not out of real colors2 but out of equivalent valueso Dufy in his later days? in the maturity of his vocation; saidi "The great thing is to create the world of the things we do not see e88 ' Dufy feels that "one big fault with the Americans is they do not see what is around them until they see it in a 1 p ic tu re - In Life magazine? January 229'1951s appeared an article on Dufy9 which was accompanied by his illustrations-*one of which was a water color entitled Fenway Park® One reader later wrote a, letter to the editors of Life magazine 9 ex* plaining that the particular painting of Dufy*s entitled Fenway Park was actually Braves. Field instead» In answer to'., this inqulry9 Dufy admitted^-which to a great degree says In .

^ ¥ il e n s k i 5 R eginald .Howardo Modern French P a in te r s ® p0 288® .-

® C ogniat; Raymond® R aoul D u fp« vli® its brief simplicity much, of his philosophy of art—”I don61 understand baseball?M but adds r 88Americans are too lite ra l in looking at paintingso Only the painting itself is im= portanto The subject is nothihgy^ ' Andre Mairame gives a sim ilar explanation in substantia- tio n h e re , We must remember that we.".never look a t an eye; .h a rd ly anyone of us could name the color of the iris in the eyes of . even his close friends^ For us § the eye is. a look; only for the oculist • v \ and the painter . is the eye something, intrinsically c lothing, is less un= biased than human sighte The painter’s first unconscious act (like that of all aftists) is to change the function of - ob j e c t s , For th e P oet , th e Novelist,.- the Philosopher the raw material of their art=-=words, is their language= A painter8s sight is what is used for painting, just as a sportsman’s sight is what he uses for. shooting

9 Malraux, Andreo The Psychology of Art, pi 14-5 =

^ Article in Life magazine„ February 12, 1951» CHAPTER I I I

MT EDUCATION PHILOSOPHY

In teaching art a difference must be known^-and must exist between an artist and a teacher of arto • An artist and a teacher of art equal two different and conflicting tth in g s 6 and represent two different indivi duals § however $ these two incompatable 1 th in g s 8 can be placed side by. side in the form of an art teacher only when being an artist and being a teacher of art are divorced in each individual philosophy and are treated with no form of marriage whatsoever 0 - When the creative artist paints for himself 9 he imagines he speculates $ and he studies—=he studies he rearranges ? and he imagines 9 and he sets before him his message of what he sees in.his own Inimitable style* He may deny theoryo He may deny the theory of the art teacher« The creative ' ■ artist may disagree with techniques and methods which the teacher has suggested-^and • suCetxmbs to individua 11 smi Rules from the art teacher may be ignored and forgotten by the artisto . ' ' ' ■ In teaching): this same person^ the art teacherm ust - account for theoryt and he must have explanations-^mus t have rules« techniques 9' and methods| he must be able to.: explain • what h e 9 as an artist, would find difficult to explain, but as an art teacher must make explici t" to; his s tudent S o fhe art.teacher reaches for symbols in his detailed ex» planations-e : He teaches the rudiments of painting 9 lin e 5, shape, and color—he takes from the sensuous, the un explainable y the imaginative, the storehouse of'mysterious abstracts, and he fries to label and coin descriptive ex- , planations and pathways for his students» He teaches form and balance, composition and harmony—and he gropes in mid air for explanations for 8feeling empathy»8. He. describes and demonstrates, or shows by illustration, his verbal note book of 1 facts on hando 8 ; ! The art teacher can,•however, •along with his rules, the all important and essential foundation blocks, explain to ;a ll'his"students wherever they may be, that creative artists arrive at whatever position they maintain by the diligent study and practice of these proven, and (some) experimental, theories— but simultaneously in application these same creative artists have reserved such trained disciplines for - h in d sig h t 0 . ■ . The basic elements of drawing, of painting, of principles of arty--of all aesthetics, must be taught, and must be well taught, illustrated, and thoroughly explained to the students by the art teacherc There must be a firm footing constructed here upon which, at a later date, launching to individuality ■= launching to individual creativity may be accomplished« . T his 8 launching! must be provided? explained^ and es= tablishedo When rules and theory become so practiced % pre cise and predominate that painting is minus in sparkle and spontaneity and becomes 'slick 1 and 8 p o lis h e d ^ 1 losing the vitality and charm iwhich distinguishes a- true, work of a,rt 3 the student must be stopped==he must be stopped? asked to step back and observe his worko He will then see that he has been a good student 9 that he has followed all the rules and regulations; he will see then that he has been given a good footingbut he will also see that he has become me chanical-—and he xd.ll know then tha-t from there on out he must begin to "feel 6 his message and he must himself 8create in order to give individuality to all that he has mastered thus faro > " . : This creativity 3 this inner flow of expressive indivi dualism is that something which cannot be taught §• how ever ? it can be felt and capturedo It can he detected 3 and c e r tainly ? it can be encouraged and directedo It is here ? and perhaps here only 9 that the art teacher can smile and say .to himself / 8this student has learned what I a s an art teacher ? have taught him. I must now, for this student, begin to pull from him those innermost talents which heretofore have, lain dormant in his soul— he must go from here on his own, but he must go slowly lest he fall and bruise himselfo He must avoid deep ruts on his journey- he must be forever watchful of signposts and highway markers He must be encouraged when he is despondent and caressed by intelligent teaching lest in his youth he may be turned 3 or turn himself$, completely from this roadc One day I must say to this student—"forget all that I have taught you? for you are now your own teacher and you have no further need of me* And if this student needs my advice? he may come one day to v isit me—-and we may discuss his paintings— as artistso 1 Art cannot be taught—it can however be led $ captured and leashed—harnessed and led by experienced guides ? shown by knowing eyes and trained fingers f patterned by previous mistakes? and matured only to and in the generation to which it belongso The principles of art can be taught—-and from these principles coupled with individual creativity comes art* Bene Huyghe 1 agrees with this philosophy Alfred North Whitehead says that youth is imaginative? and that if the imagination is to be strengthened by dis cipline? this energy can in great measure be preserved through lif@o - He further says that the tragedy of the world is that those who are imaginative have but slight experience? and those who are experienced have feeble imag inations o Fools act on imagination without knowledge § pedants act on knowledge without imaginetion* He says that

1 Huyghe ? Eeneo The C ontem poraries * p c 60* the task of a; university is to weld together imagination and experience :- - % ' . : 7; But it is the task of the lower grades in education to encourage and, at the same time $. to discipline imagination^ and'in doing so extreme care and caution must be. observedo There must be an insight here by the teacher into each of his students-^he must be able to discipline this imagi= nation and? at the same time $ must not prevent the in dividual flow of creativity in this same imagination.o "Whitehead says further that imagination is a contagious d is e a s e 9 and it cannot be measured by the yard ? or weighed by the pound and then, delivered to the students by members of the facultyo • Imagination can- only be communicated by a faculty whose members themselves wear their learning with

. imagination^^ - -: ; . '7 ;7 . " 7 " :77 - / 7 . - 7 : 7 In education the art .teacher is; concerned with the ap proach to the arts— the artistic approach to Individual creativityo ^ : : 77 -. Agreement is evidenced here also by Rene Huyghe who

says , ; 7 ; 7 ; 7 ' 7 7 . ' : / 7 ; - We could almost say that beauty does ■ not - reside in the: marble or canvas ' ; but only the gift of beauty, the gift of creating it in the. soulo According- / l y 5 to the soul that receives it and to

2 W hitehead 9 A lfred N7 The Alms of E d u catio n ,, p= lk-9^0o

3 i b i d os Do 1^5«■ . . . - - : ' ; ' Mf ; , : the qualities .it there discovers$ it ' " : w ill be reborn in a form very similar • ■ to the one its creator intended! or in a form new and unforeseen, and in« creased or reduced-o . From age to age it flashes or grows dim» Fashioned out of a particle of life, it has all the characteris tics of life' in which t: nothing is definitive, in which all j I things are constantly re-created 0 - For death alone has finality*^ Huyghe says further that a work of art is not an idol set up to be worshipped, or a thing motionless and dead lik e ' a : 9 Tombs to n e 1 slowly crumbling to dust, A work of art is an active; force®^ : ; Dufy agrees further that Delacroix was correct In his philosophy that it is much more, important for the artist, the: art student--for' all individual creativity, to approach ; the ideal which is in him, which is peculiar to him, than to record, even in a strong way, the transitory ideal which nature may pr@sent--and she does present such aspects, but it is man's imagination which creates the beautiful» AS to the imagination of nature, Delacroix, the artist greatly admired and quoted by Raoul Dufy, said, —that is the one great point of depar ture for all the schools, the one on which they divide profoundly as soon as they interpret i t ; the whole ques=: tio n seems to come down to th is | —is the imitation of nature made with a .

Huvehea Rene 0 The Gontemporaries^ p® 6:1®

: ^ Delacroix, Eugeneo The Journal of Eugene Delacroix (Translation, Walter Pach), po 33Do ■ view to pleasing the imaginations or is it merely intended to satisfy a singular sort of conscience 9 one which permits self^content in the artist . ■ when he has made a copy? as exactly as „ possible, of the model before his eyeso^ Delacroix says also, I add that education, such as above . continues throughout our lives| 1 define it as the cultivation of our spirit and of our mind as a result of our own fostering and of outer circumstanceso° What must be continuously remembered, taught and in structed from the very .beginning, is that fine works of art never grow old because of the one quality that trade marks them— true individual creative feeling» Delacroix says that the language of the passions, the movements of the heart are always the same> He says that ■ what most surely stamps things as ancient, and what some times ends by causing their greatest beauty to be neglected, are the ready-made formulas within the reach of everybody at the moment when the work was composed| certain ornaments, ac ce sso ry to th e id ea and commended by fa s h io n , a re what cause the success of the majority of works» Those who, as very rare prodigies, have been able to do without these ac cessories, have been understood only at, a very late time and with great difficulty, or by generations which have

? Delacroix, Eugene <> The Journal of Eugene Delacroix <3 (Translation, Walter •Pach), P 0 .33I 0 8 ibid., no 30W grown-inserisible 'to .the charms of conYention®^ 1. great number of books bn the artsy whether in or out of the immediate reach of education dr of the "educa.tors 9 have been written by people who are not practicing artists = Of these books Delacroix wrote § : - : ; The majority of the books on the arts ' _ are w ritten by people who are not . artists| hence 9 the number of false ■ notions and judgments 9 due to hap-= hazard caprice and to prejudice <>10

9 Delacroixj Eugene0 The Journal of Eugene Delacroix % (Translation 5 Walter Pach ) 9 p» 371®

1Q I b id ®, no 5 2 9® PHILOSOPHY OF 4ET EDUCA.TX ON . APPLICATIONS, 10 PRIMARY AND SECONDARY EDUCATION

It has already beea said here that art cannot be taught$ but that it can be led—also, it has been said here that Education is concerned with the approach to the arts—= the ' approach to individual creativity,, / ,, In the lower span of education® such as the grades one through sixj teachers are faced with students whose energies and powers of imaginative creativity are unlimited® -The - teacher himself is expected almost to be some type of super human being whose talentsy patience $, and understanding are unlimited^ steel-hinged? and waterproofed® He is expected to be the master builder 3 the guiding light for inspiration and expectations—he is looked upon as the guardian— ‘ . som etim es 3 these days, almost as the parent® More and more demands are being placed on this same overloaded teacher as our civilization shifts more and more each day from home responsibility to school responsibility? in the producing . of the well-* trained and well-integrated student „ And as the teacher stands overlooking the•bundles of unlimited potentialities he wonders«, adjusts— and looks to his lesson plans for preconceived methods and solutions to his problems® ' It-Is here? in these lower grades of education$ that this fullness of undirected activity within the individual student presents one of the greatest$ and largest 9. prob~ lem to each and every teacher 9 adminis trator 9 and parentG It is here that direction and teaching of creative activity- must be carefully handled and spontaneously plannedo It is here that a teacher needs the unlimited, cooperation and as sistance of parent and school administrator , as it is here that the foundations, for future living, and future creativity are laid in preparation for future growths Only in recent years has an attempt been made to school the teacher in Art Education as an integral and important : part of his other required coursesc There is now evidence that such a course of training has been recognised as an essential part of Teacher Training for the grades in Primary Education^ The. need for instruction in art education for all regular academic teachers in primary education is obvious from the countless numbers of pr Ogres sing - y out h 9 whose spirit of individual creativity has been neglected or passed over as inconsequential at some time or another in his early trainingo The need for more creative instruction for the teacher is seen in the classrooms themselves^"— and it is voiced admittedly by the teacher himself» He has needed help and has himself become bored and disinterested with the tcut-outs* and 'pattern-dotted* lines 0 There is a great awakening at this particular time; a ray of light has been able to penetrate showing the need for teachers trained in 9 and for? creative activity in the primary grades—^especiallyg one through sixo It has come to pass g in some of the more advanced schools 9 th a t in dividual creative activity has played a major part., and perhaps 5, in tim e 9 our education in the primary grades of all our schools w ill stress continuously the overall im portance of such Oreative activitye (Ho reference what soever is intended; inferred; or suggested here as to the so-called ^Progressive System of schoolsQ) Individual creativity in an active9 integrated program between each cour se in the sohoolis ,curriculum has now9 more than ever before/ begun to take shape—a shape which should eventually help to materialize a more exact form and pattern for the individual himself—a form for living; and a pattern for individual successo Individual creative expression is stressed in the lower grades because of the students1 uninhibited willingness for self-expression in creative thought? and the teacher must be trained to find that outlet of emotional expression in his students which w ill enhance such expressiono . In these early grades the student is unconsciously un aware of any hard-and-fast rules and regulations; especially those which inhibit his individual expression^ Everything must free his eye and divorce his mind from any restricting boundarieso Only then can he create in the best of his ;?a t hand 8 knowledge inspired by his powerful imagination^ His imagination and creative ability"at this time are not inhibitedg for he is like the newly hatched birds, who peeks his way from the shellr^otice he finds a method^ the oper^ ation is almost automatic* The normals average student (by this, is meant no handi capping mental or physical malfunction) here has a fresh and spontaneous outlook on life— and his imagination is vivid and bursting with energies which previously have found outlet in the,open sand-piles with.fellow travelers and sympathetic listeners, who can match story for storyo The student who enters this new phase of education, his school, does so somewhat reluctantly, according to, his own particiil'ar environmento He has had training and discipline in his own particular home, but in manner and■kind it is much different from that which he will encounter in the cosmopolitan group in which he is now placed* It is herej as has been said previously, in these first few years of }classrooms 6 that education faces perhaps one of its most difficult and crucial tests-”where teachers are faced with living imaginations full of boundless energies begging for means of self-expression and displaying talents in a language found only within the individuals themselves<> Imaginations fired with the fantastic and seemingly unreal- blazing with color.and unyielding audacity, which is full . of meaning for educated eyes which recognize signposts and symbolic interpretations o . . v:

Raoul Dufy has givea much to the world of art which can be applied here 9 and there is much in his painting' and in his philosophy which, if studied and interpreted c a r e f u lly 9 applies to many of pur problems today^-in a rt 5 and in art educafion^in both the primary and secondary fieldso . : ... i: . Dufy has shown and has exhibited how tremendously valuable the individual selection or choice can be 0 He has displayed and has voiced such a philosophy 9 and main” tains that, an Individual must remain just that when he ex- ; presses himself on a creative 3 aesthetic plane= It is here also that he has given encouragement to teachers and to educators-“he can be hes.rd $ in mute. quotation =—8 take these youngsters and help them to play-*=>=»help them to retain : their laughter.and marvelous smiles help them to build their dreams and form their castles in the air—share their schemes and listen attentively as they wander through space gliding on stars or stairways in the never-never land— . build with them and courage"and creativity w ill be your rewardo Encourage their individuality and gently mold as you go alongo Help them always to maintain their creative : Individuality' ' ' ' ; ' It is heres due to the previous omission of art edu« catibn in teacher training ih the primary grades? that many ' : ■ „■ 52 mistakes have been made and have been allowed to go nn-= c o rre c te d 9 have become increasingly malignant as the grades ascend % and have 9 in turns put a damper on self-expression which automatically abuses any display of true creative self-expression or of any fullness of activity in later l i f e o Because of this stress of creative individuality it self % education is faced with innumerable problems—but solutions for such problems? other than those pertaining to art education? cannot be elaborated upon here, or even partially discussedo The teacher in the primary grades must not only, encour age, build, shape, and discipline the imaginations and a c tiv e 8 dynamos *: over which he reigns, he must lead in guiding these same energies toward a well-integrated field, of mental activityo - ~ V : Groativity here must not be hampered by superfluous rules or regulationso Hor can there be an excess of inter jections pertaining to the rrights 8 and supposed "wrongs 6 — for xiio can say absolutely, or even approximately, anything about degrees of achievement in individual creativity at this point? If there are drawings to be done of apples and oranges, there should never be strict instructions for individual treatment in reproduction, for one student may see the apple as being red, whereas his friend across the aisle may see the same apple as being green and brown, with ‘ ■' . .. . .53 just a speckling of orangeo The apple need not even be there in the classroom for observation? but if it is ? it is not the duty of the teacher to instruct his students as to exactly what colored crayon they must use—fo r■th at.is a choice which must be left to the students themselves 0 Imitation here can work for the bad—the stylized $ static ? or unimaginative? as well as for the good—the • individual? true? spontaneous expression. There are many who will decry such practices of Individ# ual freedom of expressions, who will proclaim that? unless proven facts and recommended procedures of instruction are given in the earliest grades 9 ice,; apples are red, or per haps green—or maybe yellow, our children w ill grow up to ■be ignorant of the- laws and facts of nature and of life. However, from the beginning to the end of our so-called •4formal education,' moderation must be used; it must be explained that there are facts, and that there are also degrees—and that imagination can be tempered to suit whatever the particular needs of each problem are as it a r is e s o It is not the purpose here to make of each and every student an artist, nor should that attempt ever be made. However, it is important here to begin to stress those dif ferences which exist within each and every individual, and it is important here to stress that these differences must be exhibited willingly and honestly in each individual, in ' : ■ ■■■ : ' ; 54 order that he may maintain and demonstrate his own inim itable command of self-expression* , Dufy has given to education the idea of sim plicity„ and a sense of the beauty which exists within sim plicity» He has also shown to education that educators themselves must be creators via educationo Dufy? through his philosophy$ has given to education a new sense of freedom, in e x p ressio n —'he has shown how a l l - important it is for each individual to look and to observe •through his own eyes 9 and to record and create from within himself what he sees from what he has felt and experienced in each particular situationo He does not advocate^ how ever, that in such individual creativity it is necessary for bfutallty of rearrangement 9 or for a complete removal of the real to the abstracts In primary education the student must be given encour agement in the.play of his imagination; ;he must be given freedom in his means of expression; simultaneously there must be a beginning of disciplined guidance 9 which will constructively mold his imagination and creativity to further goals ? and ^ich w ill eventually make way for a fullness of activity and a transfer of activated partic ipation in all his individual and group activity. Is the student progresses beyond the: primary grades and begins: to peek inside the doors of what is called Secondary education5 he can5 or cannot—depending'on his previous ; ; - ' " 55 training=='enter the new environment wj.th a feeling of secu rity and. with a new sense of satisfaction resulting from what has gone before 0 • If he now begins to see that as an individual he is capable of unique interpretation through one or more fields of expression9 and that here his talents will not be neglected buts rathewill be sharpened and focused on the immediate present in all of his curriculum, it is the teacher who has put him on this path—it is the teacher who has helped him to captures harness9 and lead his creative activity, which was once in its fullness of activity raw and undisciplined, to rewarding heightSo Dufy's philosophy continues throughout secondary and higher education, but here the student is.faced more and more with reality, and in reality has found ugliness, bitter hatred, and unscrupulous competition= It is here that the imagination becomes warped and unbalanced, unless firm footings and trained disciplines have been maintained, and unless there is even sense of. balance and a keen sense of proportion^ For it is here, as education branches out to touch the fingers of reality, that one must continue his search for individual creative expressiono He must begin to realize here, more than ever before, that all fullness of activity is artistic activity= And it is here where educators-must not fall down on their job— showing samples of lifto life itse lf? showing ways and roadsj and encouraging creative thinking» . CHAPTER TV

; MOUL DUFY IN TUCSOH"

Through the hvuaanitarian and sympathetic eyes: of Dr o Freddy Homburger, a research professor of Tufts College Medical SchoolMedford^ Massachusetts 9 whose attention was Immediately arrested by the terribly crippled condition of one of the great French masters« came the first dawn of a guided inspiration? which in turn led Raoul Dufy to;Tucson* Dr a Homburger? an a rd e n t adm irer of a rt? saw a -photo® graph of Raoul Dufy taEen in a wheel chair in Paris?, (life Magazine? December 12? l^^? page 87 ) ° He saw the condition of his hands and immediately invited Dufy to come to America, as a patient for treatment at the Jewish Memorial Hospital in Boston? Massachusetts (see ReaderSs Digest? December? 1950? 51 The Magic of an Impulse?M page 86 ) 0 Dufy? who had quit painting in Paris when his fingers and hands' were crippled by arth ritis and rheumatism? ac cepted the warm invitation and arrived in lew York in April?

1950 O / ' - : ^ ' • ' - . 1 ■ He began regaining the use.of his hands as a result of the adm inistration of ACTH and Cortisone by Dr* Freddy Homburgero •. As he- regained his strength and the command of his' brush? he began to paint in and around the neighborhood V : : : . ■ 58

of Boston and Hew forko (See Life Magazine 5, January 2 2$ 19% «) V ;;J .'V ; ■: -' . : ; • / : \ - . ' - .. J : J ftilrty-’f our of the gay and sparkling water colors which he painted .in Boston and in Mew York are now being circu lated at his request throughout the major American cities— ' with a small admission charge 2 proceeds of which go to the Mational A rthritic and Bheumatism Foundationo - Dufy said of his art here 9 • i: - Art in\ A,merica% is 'derivative: because ' ■'-v-- ' it is still too young o France $ he ' added, has lived a iong time, eight or nine centuries, and yet art in ' ' . . France too wag. too d e riv a tiv e up u n t i l th e 19th century—Anerican art, ;.V like America5 must wait and. live a ■ ',,; . v : ^ : J: J- ':- j ' '■ :J " /".; ; There are., of course 9 differences be- :• . . tween’the American scene-aEd the : French scene, but they are superficial= One may p a in t # ie American scene but^. .. _; :a. paihted 'landscape is not: Matur e c : ' ' ; anyway 0 Art is a creative thing like ■ music or poe try c,3- Further, it was said here that his Mew England looked. • rosy,, even though his view on the’United States5 art was ' rather dim* He bad filled the Charles River with a cham- pagne-fizz of ■sailboats and bright ripples | turned the boxy Suffolk Codnty Cpurthouse .into-a castle of air f had given Boston HarborSs fishing fleet a carnival atmosphere| had set Beacon H ill on its ear| and made the Georgian brick halls of; Harvard danceo 0 0and, all in all, his Boston’ . ;

v- . lime Magazine (vol® : LVI, Mo». 10, September k, 1950} , p.9''N-9v r v .A ; ;i. p v: ' J ’' ' ' .59 pickupea-tfer'e Parisian as .'ever.c, And as p re sc rib e d by Dr® Freddy VHbmburgero Baoul Dtify n ex t came to Tucson^, A rlzona5 to co n tin u e tre a tm e n t, m edi- . :c a tio n 9 an d tr-est o' r- : . : , : . • ; . : ,.t f - . ’ ;\ i '

: - :--'-n ; ,v .

■ ■ Radui Dufy came;to Tucson the twenty-second of January? 19519, directly from Hew.York Cityo .He arrived late in th e• evening and was tremendously tired and fcompartment cramped howeverhe was alert and smilingvas he cautiously left, the Pullman vestibule, t t;._t y ; : : 5 ' " t t .; ..;'His' trip had: been somewhat dull and thoroughly con fusing^-the service was erratic and ;irregular, and the food *mediocref-^but regardless ?the was charming and receptive 0 He. was tired but amiable ? and immensely diplomatic when smoothing over his travelogue„' • . ; t " : During the week in which he was registered here at the h o te l 9 he read. the daily Tucson papers with much pleasure and rap t. attentitino. He, was interested in the aggregation of folders which gave ia ll about e^#rything in Tucson,! , but it was The Arigona Highway magasine which made him r e - : ■ adjust his glasses and; ralse his eyebrows to a circumflex ;gesture of exclamationo He .loved the pictures, : They were new—and certainly they were different:,

- ^ ' Time .:Magazine. (vol0 LVI, No0 10, September b, 1950), ’ P° ^"9o ■■ . .. . ■ ‘ v h ' H % ; ■; - For th e/first time he had seen good photography of the, liest-ând tie loved #iat he sawo It was fresh* He ex- , ' claimed ecstatically about the cactus and the•cowboys * ■ The cowboy, hats were ’’Magnlfique 9 i-* and he managed lingefing .: minutes of Frehch dialogue and description before the con- - . tinuing pages couldbe . tm? ned and paraded for" inspection* The Indianss their skin and eyes8 and colorful costumes| .the desert and the sharp atmosphere==the clouds and asure blue* sky—the turquoise and mineral deposits—the stories about Tombstone and the romance of the 1Bandits"--all made him excited and anxious to be about * Nogales 3 the border- town wi th an ar t all it s own; the Mexicans« their cos fumes ; and their dress; their almond-=skin complexion and Jet blue- blaok half — their flair, for design and ceramic secrets? their materials and fabrics° He talked in anticipation about the day "we travel to Nogales, to Huaymas and Eermo™ silio--tO : observe' - and. t o paint *" ; : . c ; As he rested and;regaihed his strength from his tiring trip from ’New York, he would sketch on the paper doilies which accompanied the room-service, tray as standard equip- . men to He 'had a regular collection of these doily-sketches— from Boston, thanks to Mr» Pullman, to lueson, thanks to Mro- Pioneero , - ' i On the train en route to.Tucson he would sketch his r.eminiscing ^favorite scenes8 ' which he; had remembered from Ms stay in New York and Bos ton 9 or lie would jo t down mental" hotes about the "Ferris' wheel 5 on which he was a :paid: passenger* . % -/ - It was from this activity, his sketching on the seal- ' loped seavahgers which immediately arrested the attention of the bus-hoys in the hotel $ and which in turn promoted the tiuBzihg and whispering- rumors in and around the hotel ' that i’the famous French' artist Raoul Dufy« whose picture and display of paintings appear in this week is Life 5, was there: in the hotel on the second floor o 11 v Ihere were no Interviews during this first week in Iucsons ' :It; was not the time for talking to the press or to the public 0 Ihat had been done partially in New York via Life magazineo It was now time to rest-^to relaxo To regain and rebuilds to: recuperate s and ? of coUrse-^to paintl " . Eis specifications for the house he wanted while he was in Tucson were demanding and difficult f however 9 they ■were,met—and he was pleased = He; was pleased and very happy to have his comfort and to have the desert as his playground 0 - ' A house $ a wonderful replica of a Mexican farm house on one level and far-away from the traffic and wandering passers«by, a view of the mountains which surrounded the ■ cityrând a gardene : • - A r ’. . The" gardens the views § the house and all were seemingly made to order . f or- - his - .sk illfully drawn, blue, .prlmtso There . - were orange, grapefruit, and lemon, trees yhich provided ~ shade and color In the.: patio along with the two overgrown eottonwoods which played guardian to the youngstersv The w flowers - were in fu ll bloom and pr oved' themselves wor thy of ^ posing for their ' Fainting Master.» . , The fish pond gave vent to dreaming and to reflected images of lounging relaxations Redwood furniture on a flagstone carpet^â large barbeque ' and protecting wall-ând nearby a pigeon cage full of coo- . ing tenants—a Palos Verdes tree whose roots- were covered with grain and tidbits for the wandering quail and rabbits-- occasional troughs and containers filled with fresh water for grateful neighbors who would per ch.. and applaud their benefactor—it Was all there for the asking = . ' -It was all there in its magnificent splendor - and it was not neglected - nor even abused® Never at a single minute was there a waste of sight, for each glance absorbed and retained—remembered and reproduced in rearranged creativityo - , . The first few weeks found Raoul Dufy continuously busy at his paletteo .During the warmer days he would paint on the :screened porch, and would listen to Bach, or to an orchestration by Casals at ParadeSo. The few days it rained he painted inside near a warm fireplace by a large picture window which framed the Catalina mountains in all their ■ tempestuous and schisophrenic splendor® f Wate3?e©lorsi Duf'y was illustrating a book, “Editions Mermod-nour un herbier eoletteol 1 which was to be edited and printed in Lausanne $ Switzerland* During the first two weeks in February he painted a few water col or illustrations for this editions, which had to be completed and sent back to. the editor by a certain date—and they were* • ' There were violets 5, petunias 9 Chinese lilies ? stock of 'every color 9 yellow elover blossoms 9 p an sies 9 la rk s p u r s 9 i r i s 5, and Innumerable flowering cacti which were willing subjects and acted as mute models in their various ballet like poses* ... . - / - ■ Systematically he finished the assigned obligation 3 • and. together with a persbnally written letter to Mermod* he sent the parcel with the explanation the.t 88he was painting in Tucson 9 and that he had received inspiration for some of his paintings from the gorgeous and magnificent- flowers which were growing in his Tucson gardenoH ' It was interesting to watch him paint with his left hand r yet ? when he wrote j he used, his right * Immediately after he completed the original watercolors for the Mermod Editions; he began anew series of watercolor s (approximately 19M x 2£?,<) for an art collector in the Basto . - ' : . ... - ■ -'hgain; he would arrange his materials and his painting position in his own inimitable manner—a small folding flat-top. easel about, two feet high was placed at the left ■ ' ■' ■ . ;■ ■ ■■ ■ • _ ...... i X : . 64- front side of his favorite Chinese Peele chair» On top of. the easel was placed the Tucson morning newspaper—which . was his palettei The top of the easel on which the news= paper was placed was wet thoroughly*? in order to keep the paper stationary? or from sliding arounde " Methodically and meticulously the various colors from the watercolof : tubes were squeezed in ornamental and systematic arrangement“~and were then bathed with small drops of fresh water; from the rectangular pan which held the' innumerable long handled brushes = The paintings for this particular ebilectioh were in spired largely from scenes ih France' which had been, re corded pfeviously by the a rtis t8s keen and memorable impressionsg and were how being transcribed and translated into active- pictorial 'compositions® ■ • ■ The weather.g meanwhile ? had taken a temperamental, turn to winter and gave rebuttal to painting and time schedules-” and Casals took over in symphonic majesty giving vent to sunshine; as rain, clouds responded by applause» . .. There was never darkness when Dufy painted inside—for darkness is. an absence of all light 3 and his paper was white I t' was--alive., and f resh 9 and it reacted willingly to his playful.strokes of cool color and laughing brush® ... On such xdntry afternoons when he was absorbed with energyg it. was common to find him engaged in three- or four■=>hour sessions of continuous painting® During such :8sprees8' when the sun was shining 'Dufy did not stop, „ even when the snn sank, behind the "mountains .in the evening e ; He . couldSee well his field--and his 'players were his friends he. had long ago learned to trusty-much more- than the fading

suni;. : ; h- ■ y: ; ' ' % '

. ' The.Rodeo Parade which began, at,ten o8clock Thursday ; morning, on the twenty-secondof Februarys was the first ' ' public appearance in Tucson for Raoul Dufy® : With much planning and .prearranging . it was possible for Dufy to occupy the seeond“Story balcony on/ the "west ' side of the Valley lational Bank Buildinge " : Before the parade began Honsiew Bufy and his complete 1impedimentaV for painting was set up on the east balcony, second story of the Valley National Bank Building, and was arran g ed and placed', a t h is. commando/ 'H is c h a ir s: h is port® ; able easel, water color s., paper,/portfolio, and brushes / / all were, placed to orderb / he. wore around his shoulders the -Paisley shawl which was as much his standard equipment/ as were his famous eye glasses—slipped down on his hose 0 / ' ' - /During the two^hbur panorama- of gay and frivolous ex® . eitement Dufy painted, two water color s (20" x 261 1 there were no basic prearranged pencil sketches at this-; particular session; he '7 painted dir ectly from what he saw® "He exclaimed at different intervals that this individual parade had ' ■ ; ■ . ■ ■■ ' : ' • v; V 66 ;-!5mueh more exquisite color{J- than the Armistice Day parade. in New Yorks (See L ife.magazine^ January 22? 1951°) .' - The- fascinating colors? the flags 2 the horses$ and the cowhoy riders 9 the various dancers 5 and the overall spirit of the rodeo parade held his attention and refleeted itself in his unique interpretation on his two-dimensional ".mirroro - . "• ' - ; y ■ ... . ; i

######## ■ • ^ ... i

The Tucson Rodeo marked his second personal appearance ==> fan : event'which was.to him completely new'and thoroughly ; unf am iliar I however $ in his- s tudy and keen observation he captured the whirl and swiftnoss of movement which often made eye contact difficult and dizzy®; He saw and felt again the blazing colors and to it added his interpretation of . the . Rodeb':and what ,it. Was; saying :to him^ ", . - .. i • ' • During the uninterrupted three; and a half hour contest he painted two water color s. {20,f x 26") s which depicted in . summary what the .cowboys were doing^their grace, their sk ills; and timing fascinated and intrigued Duf yQ , The .:. i, ’ horsess their sense of learning 5 their attention to command and dictation was to him amazing o f The crowd-didn't bother him or distract him from his . easelg nor . did the cloudy;and late, afternoon, haze interrupt his message-^he had gone to the Rodeo to paint=—and he

painted® . . . ..: / : -f f ' - . " " . :: r When the "aisles were cleared and Dufy and party had 8 packed 9 8 he sto od up and eontemplated the vacant area— he turned sideways, after studying the. crowded'corral at the end of the rodeo •grounds which housed the tired and bedraggled rodeo cattle $ and while looking oyer the long line of dusty cowboys 9 Dufy pointed in exclamation and saidj !}It is all there—the Rodeoo” The simplicity of composi tio n j- the harmony of arrangementy and - the crisp understanding of his brief statement was immediately • reminiscent of the watercolors he had seconds before ar ranged in his" ■ own inimitable pattern of color and calli graphy« ' hvih yi- - .■■■■ ■’ ; . : :

The excursion to the Yaqul Indian Village during the '.Easter religious ceremonies.(March 16)• proved to be an ex- citing visit for Dufy 9 in spite of his voiced disappointment oyer not being able to. set up his sketching and painting equipment?: which was immediately at hand®. He1 d id 9 however 9 find ' the tense air of expectancy full of excitement 3 and .watched reverently the religious services which were taking place" in the small open-end Cathedral-^like hut which was at one end of. the open air- arena? around which visitors and awesome spectators•wete .ob serving and whisper- ; ing to each neighbor in hopes of finding answers to just exactly" what was going on—and why® V::;: ^ - - v '- ; ; ;■■ 68 . ■ ' • • ^ Photographs and movie cameras were mot allowed in the ' ; area § and a set-up easel Was out of the question; however $ wi'th - a Parker pen and the back side of a borrowed envelope . Dufy sketched the immediate ideasand. numerous activities which were .takihg place - at the moment—-noting , color s and . harmoniesj pattern and: designs.? movements and space which he could later use as a refresher indexe . • - v - : , Suddenly 3 with a ringing of the large chureh bells the ;signal was given which '■immediately brought the crowd to stand and observe a rel 1gious dancereligious ritual which was most impressive in its simplified pageantry^ The . costumes^ the grotesque masks § the solemn Indian faces 5, and kllhklhg bead s 3 the j ingllhg of . the hell s--the gawking crowd and barking dogs all made a fantastic and weird eom^ position 1 Dufysaw it all and he asked- for another envelope on which 'to sketch his impressions@ w; v-; ; . v ' After the comparatively short dance had taken place? it was decided that Dufy! s party must have dinner at Dufy$ s favorite Italian restaurant where piiza=pie was his usual order—-“and here again he took to sketching on the scallopeds w hite 5 paper doily 'place mats o' He sketched more ideas of :what he had just witnessed? and was interrupted just long ; enough to eat" his .dinnerthen leave for his place in the deserto . . - ' : ; : 1 ' . •.-, He' discussed the dayfs activlties with much exhuberanee9> and before re tirin g - in s is te d th a t th is w riter be shown a ; . copy of .Tar tar in de Saras eon whie h had been 111 tig trated by .. .him«'. ; ' ■' , f ' . . :' . : . . '• - : The lithographs in this magnifieent volume? he explained, .took him six years to complete^-he explained in detail that there were only one hundred thirty five copies printed and . that originally e.ach .copy sold for 250 ?000 fra n c s (equiv a le n t a t the time to around #800«00) o .The particular copy which he was showing had been sent . to him here3 by previous arrangements by an art patron in • the East who had. commissioned Dufy to paint a watercolor pertaining to Tar tar in de Taras c on on one of the blank .'fly-leaves8 in the front of the ,booko

The trip to 801d: Tucson? 8 the movie set which was built near Gate's Pass a few miles southeast of Tucson, also proved to be an outstanding visit, for Raoul Dufy» The buildings? their rustic softnessand the mountain ■ backdrop' made him grope for expletives—it was magnificent all over, a gain o But it was the. open pavilion dance floor . which captured him—for it was Sunday afternoon and the square .dancing was in fu ll: swing'? -as was the band—and la ter % Dufy and his pen* . The entire picture held his every .glance3*,: Shd once again $ he asked for an envel op e - - and he sketched^ A. chair was borrowed from Phoebe8s Pie Shop and Dufy placed himself ' \ -v:- ' ,70 '.in. full view of the swishing ■color' and tapping heelsand ; . he swayed rhythmically as each number was * called8 and- ap plauded* ;; . -. ' - . y ■ - . v f - ( The:f ollowlng day he painted in watercolors 2 on large paper» the ■ same '' Spectacular;/mby ement which he had seen the day before“^“ahd it was interesting to hear him point out. in his paintings -the same dancers whom he thought were so shilled and. graceful 1 : 'f . ■ . : t ; :lfhe following':Week he deaanded a return engagement ^tp / / the 5Old Tueson Set6 so that he’ could again watch.■ the . - marvelous .dances - and listen to' the ’irregular music which had placed a Bspell8- on him—and so it was that Dufy had ; ' . becbme indoe tr inaf ed, - and had .fallen in loy e' wi th th e : old. ■:" -■ - • time music g the old time dances and dancers ? the old time . oostumes— and. Old lues on o ’ He watched and listened ? and . he'sketched again^-for this was gay and fu ll of imagination? and great for ereatiyityd i ; : : . On the return trip from Old Tucson? :it. was decided that a side r oad excur sion to the mis si on San Xavi er del Bac :: - would be in good order? and here Dufy wondered in amazement at the difficult afchiteeture and explained his desire to' ' paint the mission on a day when there were less people , milling about the prbpertys The nearby houses 9 huts ? and ' Indian villagers were also a ‘part for his .attentive comment* .. He marveled at the .quiet reverance which softened the dm- . mediate atmosphere and praised the valiant courage and 71- fortitude of its creators» . ' .- 7 ’ ' ; , / v

The' .v is it'' to :Gua5tia s arti. - Hermb:sillo'$ 'MeMcOi, was fo r Dufy another most interesting travel““fo.r tiere _iie saw the Mariachies at their best? and he; sketched them in his hesto The desert in Mexico■impressed him greatly-=the large birds and th e b r i l l i a n t blue of the sea a t Guaymas was a is o remem= beredo His love for musio-=for musieians. and their musical instruments was nothing new to him5 but always interesting? and he r ecorded - his observations here with the same ease of skill with 'which he has become, so :famoUs,» ; V. , . ’ , , Later, after he- had returned to Tucson^ he began to work in o ilo n various sizes of eammsg -from the musician.: sketches he had made in Guaymas» And as "he painted he would hum to himself9 and seemed to be reliving the melodies as

he paintede ; V ■ - -. .I ' • Dufy completed during- Aprils in addition to his watercolor and oil painting? a series of five copper plate etch™ ingSo He was continuously working? painting—continuously - : ■. taking his exercises and forever- remarking ' about,’ the - gorgeous desert=:=*-the ’light ? the atmosphere and the wonderful fresh? c l ea r ? c le an a i r 0 • • ' ; . . ; ' ; ’ Dufy painted many more watercoiors of the blooming flowers in his patio;? and Wien, the Palos- Verdes were in bloom? he stopped his brush to exclaim'over the yellow— .. : ; ; ,y 'y -. : V2;: the untitled yellow which whs like a large fan in full.viewQ

' . The treatments and .exercises- for Raoul Dufy were • laborious and pains taking --'but were routine and were re^ . - speeted» Heybegan to respond to his meticulous cares and : on occasidns would walk by him selfw ith only an outstretched hand as. his sole: assistance. His faee.''and hands began to y take on the warmth of rejuvenation^ and the sun helped him to stretch his muscles and take a more: tenacious grip on ; h is b a ttle y y y : .y :'v:‘ i " y .1-r ; .. . h y,y ' '''. CONCLUSION

■ Dufy was born at Le Havre9 France9 a city of cool5 limpid light9 which inspired in him at a very early age„ a keen appreciation of light and movement= He was forever fascinated by the changeful aspects of the sea? the bril liantly colorful activities of the harbor? the ocean liners the 8hurry^scurry1 of the. little tugs which were always busy and * pu ffin g 1, around, the sailboats s the s h ip s -« a ll quickened" his imagination» He has been forever influenced and somewhat dominated'by his memories here of the sea<. Preferring to make his.own way and to express himself visibly? he became a painter-^a painter who? born in a port city? shows in his landscapes his gay. and pictorial nota= tions of festivityi in. the great lawns of the race course scenes? something of .the calm and the smoothness, of remem bered patches of sunlit oceano - He"discovered early"in life his'immediate surroundings and the beauty in:small things-“.of charts? old. almanacs? trade marks of colonial, merchandise? ships in bottles?- ships—their motion and .unprescented grace? the sea birds? and innumerable ob jects painted or carved? which had been brought to port from unknown voyageso' Afriea? the A ntilles old Rouen and its peculiar and particular form of crockery? all gave to Dufy a love of his fellow men; gave him a love for ereati-vity=-=and love -of ^atiarew; ' 'O f. Dufy,. Claude Boger-^Marx 'sajrs ^ 'that he liwoked. the . her.c-es and the myths m th whieh. poets have, peopled the elements| he sees a bird in the form of a wave—"everything •is analogy and. parallel9 everything is an excuse, for the use of unusual symbolso He obliged yachts and cargoes to live amicably with the Nereids for 9 in art s there is no absolute truth of'time or place9 and consequently9 no con= tradlction between the rhythms of today and gods' who govern . the appearance of thingsv between the reality .of observation^ and the reality of dreame-1. . • " : . When Dufy paints a .panorama of Paris«. says Raymond \ . ; G ogniat1 the houses' in it seem like a mass, of small ? fleecy • waves right up to the horizon0 He .-draws a chateau behind its ir on gate j . and. his, lines- suggest -the rectilineal crlss- } cross of ropes and. masts on.ships moored to the quay? rather than things in stone and iron6 His figures are well defined.?, curved arabesques 9 like' the volutes of a sea shell When Dufy paints the sea3 he spreads color as though it were, a stain because of the immediat@ pleasure there is in coiori Without it having any particular shapeo -l With Dufy-n drawing and color are superimposed« -one never"

^ Marxi, ^Clauhe Bogero Babul Dufyh»• 111« -r .

- ■ ^ Cogniaty.Raymondp Raoul Dufy?- p0 iiio ; ' depenaent' or never com trained by the other ^ and each ex- ' , pressing fully its own individual charactere ; With himg the slightest and smallest little dash expresses some in tentional movement or s ensation--and is full of lifey Even in his earliest works it can be seen that Dufy was less concerned with painting the actual scene he saw9 than in figuring out the secret process which made- the scene what , It sas0 \ ; And with this in mind; says Albert Skiraf Dufy did not so much tr y ? like .M atisse: and .Derain, two. of his f ellow contemporaries ? to discover the 8type8—the Platonic 8form,J so to speakg of the object he was contemplating as to create a new eonfigurati6n? glimpsed in a flash of insight, and deriving far more from imagination than from direct ob servation®^: ' "; 1 : \ ; Dufy did hot possess this virtuosity at the beginning when he was studying at the Ecole des Beaux. Arts at Le Havre9 under Lhullier (a pupil of Ingres) who. taught .him his first rudiments of paintings as he did simultaneously to Othon . Frieszo lhullier was a.good teacher because he never forced his rules or formulae on his. pupils—for lhullier knew that such: teachings might have impeded Dufy in the discovery of • his owp.vartw.•;;> ::; f '. v-; . - - V - \ V Afr;this; time-) however s even though admittedly not sure ;;

. ^ Bkira5- Albert o . The History of Modern Paintingw p, -19o of himself or his path ahead9 he Mas. aiready firmly ab- ; staining from the .'^beaten8" tracko :. Proof of this is . evident % in the short time he spent at the Beaux Arts in Paris—=nor did his instruetions from Leon Bpnnat discourage his taste for light colprSo . . : . .. / " 1 -..i-.'.. : . '"f;: Even though at f irs t he was unimpressed; with museums 5, - • ha admits there is ho doubt that he gained much from his frequent visits to the Louvre=-for there he learned how many ways of painting there .w@r@o ; 'He learned-that th ere- -were as many ways -of painting as there were artistso - : ’ y;. ' Dufy in his. earliest v/orks remembered the lessons' of Be gas' $., J ongKind and Boudln—and had a temporary a ffin ity with Marquetc, : For-a period he was strongly attached to y Cezanne8s work5 however? it was the realization of the‘art; :of Matisse Which enabled ,him to.find his true self® From - here, on can be: found, his: concentration on the arabesque5, .... on intensity9 and' on color o It is here where -Dufy is a f-- filiated with the FauveSo He does no more than flirt with cubism f and alth ough the vari ous. • current s which did > influence Dufy to certain degrees=-Impressionism—Fauvisim="= Cubism-^his ; canvasses: and water colors 5, unlike so many eon= : temporaries 9 w ill not easily grow old0 v Haymond Coghiat says thatDufy8s Interest in the most ' diverse forms of art has.-remalned the same throughout his lif© I.in ceramics«, engraving on wood, coppery and stone f in fabric printing; theatre- sets; tapestry-^all in turn '■ - : 0 ^ have been fruitful fields of experience, and the success he has had in all are so. many, stages in his life 9 part of his.;. insatiable;, curiosity$^ - . When speaking of Dufy8s art movements, and those periods and schools of the twentieth century? Paul Zudcer says that ’ the first-movement which appeared around 1905 was that of the Fauves 9 as they were called by their contemporariese This particular group of French artists, which included Henri Matisse, Georges Rouault, Andre Derain, Raoul Dufy, - and later, Maurice de Vlaminck, combined Gauguin’s idea of the picture as a flat plane with Cezanne * s architectural approach to organizatlon-^and then added s.ome of Van Gogh8 s intense accents» ■ Their works differ widely, but they have in common, freedom of drganization and lack of interest in copying reality literally0 Patterns, and violent color relations, brilliant accents, and a relative independence; of vi-tai testimony are typical qualities of the Fauves0 Later, these same artists split into groups with widely divergent forms of artistic express!ohe - - Sheldon Gheyney says here of -the Fauves, that they served.modern art doubly in that they effected the focus • of- a revolutionary effort- in 1905?. consolidating the gains made by fo rm erly s e p a ra te d and lo n e ly r e b e l s , g iv in g body

^ Gognlata.Raymond, Raoul D ufyDo iVo .

^ Zucker, Paulo Styles in Pain ting 0 p0 327«, to a sqhool| and about 1910? they dispersed- their members and Inspired$ in the light of a .generalized modern doctrine5 the' researches and achievements of a dozen related, but' ■ divergently experimental, painting groups» : ; : : , As: has been said previously, Dufy'A canvasses and waters, colors, are sim ilar to the- pages of a book which have been covered by a thin but a very vivid layer of paint—and the colors deliberately ignore the lim its of the .outlines“^as: , also in his sketches', printed cloth designs« or rustic c ro ck e ry »■ .; ; _ . :. c- : v. v .. - • With Dufy there is no attemptlaade for perspective, ■ - and his appearance of .ease, of lightness and spontaneity : i is the result of many long years of work and of researeho. • ; •As. he paints on, the more notieeable is :his mastery in ' avoiding anything which suggests efforts No other con™ . temporary artist approaches him in conveying that particular sense of serenity. and certainty,, '/ ■ ' : , ' . ■ Dufy, like the greatest painters 9 says Claude Roger “Mar 3c9. plays with difficulties and eontradietions.o^ . / ‘ :• Although Dufy8s watercolors and.his easel paintings have ' received the greatest' success, Dufy steps back to no one when he paints on large .surfaces» And if he has not been - commissioned to paint more walls, the fatilt lies in our ; ■yl",

f ° Cheney, Sheldon^. The Story. of Modern Art 1 p0 1,66e'

^ Marx, /Claude Bog erf Raoul Dufy „ pQ .iVo present lack of; appreelation for that form6 .

Jls a lover of poetry he has illus trated ? to. mention. only a very few, his good friend Appolinaire's bookq he . B estiaire^ Ferdinand : F leuret9 s Friperies g Roger . A llard5 s V. Elegies Martjales s Le Poebe1s Assas sine and Tartarin de Ta ra sc o n o ; -vi - \ A -- - \ ^ . . V ■ Dufy ignores any definitions which pin things down and k ill them» His imagination and his grace and gaiety en=» 1 . riches ail he does^-^repeatedlyj;ho can take all old re- . frains and play them agaihj and: over again in his own . inimitable way--never losing; but enhancing as he: travels o i As Roger Allard has well observed; says Claude Roger-Marx9 - : '■ ; was the fashion -among paint- V ■ , ers . to be intelligent 9 Dufy was ' : ' . :discreetly intelligent5 when it was r : ■ , considered good form to be : naive 9 ignorant or barbarousy he continued . ; - to be civilized and witty without y: ■ . ; em barrassm ent : ; ■ -v. y y .y..-•'■:-y

• • Dufy8 s impeccable taste and his: immediate grasp of the important characteristics of •ey.ery scene he sees provides • for a unity and an imaginative mastery of his dreams 0: There is no sadness in his work; as there was none in Renoir6 So yThere is.ho sadness in his temperament--it is divorced from ' him like all destruetive - elements and shadow,, But his expressed freedom, is at Vohce pafdonable here because the freshness aW' intensity of feeling prove.visibly in his .

' . . ' g . . y : . .. . _____ Marxl Claude Roger o Raoul DufyQ p» vo . - :

. ■ ..8 1 9 2 6 6 : . .. • 'v:/ 80 paifitlilgs ' ttiat be is true to both, the characteristic of detail and of the whole? continuously freeing himself from any traditional ideas of perspective and-chiaroscuro (light and dark)„ by expressing himself in his unique manner in a new language all his own, but one easily understood by alio For Dufy', the most inslgnificant flower, chair, boat, or. cloud has for him a 'message, and to him everything is 'a . _ symbol which is'explained by his interpfetative brusho fiabindranath lag ore says, ' \ \ ; ’ A r t ' re p re s e n ts th e ' in e x h a u s tib le " mag-. ‘ : 1 nificence of creative spirit; it is generous ih it s ' bestowal; it is unique in, its manner and universal in its ap- ; peal; it is hospitable to the Ail be cause it has the.Wealth which is its . own, !lts vision is new though its view: may be old| it • carries its special : criterion of excellence within itself, and therefore:contemptuously refuses ; - ' to be brow-beaten into conformity with ' a rhetoric manufactured by those who \, : are not in the secret of the subtle; • " ■ \ mysteries of creation, who want to : - - . simplify through academic code Of law that which is absolutely simple through : its spbntaneityo9. ^ . Emile %oia said that a work of art is a bit of God1 s creation seen through the medium of a powerful temperamentae the object or person to be portrayed'are but pretexts0„0 - trtB genius of conveying that 'object or persons in a new,.. ■ more real, or greater sense*^ . ; Corot said that #ien one follows, one is always behindof

^ Tagore, Habindranatho Verv§,’Reflections on Art", Mb o' 3 ,' Get “Dec o - P rin te d in France => " , . : . Sour ce unknown* ■ y 1; 8 i 'lie sa|^i further to stress individuality and Individ- ualisme13* ' \ ; . Raoul Dufy has contributed to 'Contemporary creative .expression by his complete creative sp irit0 •■ It. is his philosophy :that, imitation^ im itation in itse lf j: ■.does not . ; - always glye the beauty of a shapef or the 'beauty In a shape“-=nor does . i t n e c e s s a rily su g g est movement® Dufy believes that color is nothing if it is not.appropriate to the subject.! and color is nothing if it does not *build* .and enhance the overall effect of the painting thro ugh .the power - of imagination^ Painters who are not . inspired, with the imagination-: of color pr.oduce no more than posters= All painting5 other than black and white 9 must include the idea of color as one of its necessary contributorso Dufy; has given here a new theory of shadow^ a theory which is- workable for- him and which adds a clever sparkle of spontaneity to his work—-light is color and shadow is an absence of color; therefore s shadow is whiteo Dufy maintains that imagination which has been given to. youth must be trained in youth| must be trained and dis ciplined to further creative individual activity. Imag ination must not be drained of its vitality by an over- schooled- group of rules- and regulations 9 or a badly coded manuscript filled with rl#its and wrongs. At the .very

11 Source unknown» . - . / / ■ ' • ' v 82 beginning of talent there is a ‘something1 that is naive9 uninhi.bitedbrave and courageous9 strong and outspoken in its happy freedom from-care as to the conventional and conventions which govern grown men9 and w ill produce creative : activity9 when properly led and developedo x .Dufy5 also an excellent draughtsman, has shown and exhibited in his calligraphic technique that line which suggests is sufficiento He has further shown that color need not be imprisoned by line5 becaus e color in Nature goes beyond the objects themselves and is forever blending and intermingling ° i--'; •, Perspective has beeh for gotten as a" painting rule which must be observed; neverthelesss he remains true to the part9 as well as to the yaole3 in his audacity which sparkles .with laughter and wistfulnesso Nor is he ever sad in his painting; he is always gay and laughing in his fresh inter pretations which seem to vibrate the strength of'integrity0 bibliography

Ao Books

lo Easier 5 Adolphe- and Kunstler5. Charles " : v ; ' ' Modern French Paintinge . • ' .'Vt ; : . W illiam P« Pays on 9 New Y ork? 1931= ■ \ ' : . v . 2 0 Cheney 9 Sheldon. . ;. . .. : The Story of Modern Arto v ‘ The V iking P re s s 9 Hew.York, 194^. ' 3;» Cogniat 5, Raymond 1 ■ ■ - ' - Raonl DnfYo ^ . "Les Edi tions Braun, and COo 9 1950« Ra. Como9 P ie rre . : \ - v : . - Raoul Dufyq I 'enchanteur. • Jean Marguerat 5. Lausanne ? 19^7? . ’ ‘ 5e D ela cro ix $ Eugene ' , ■ :■ ", ' - ■ The Journal of Eug ene DelacrolXo ' . ‘ : Coyinei.j Friede9 InCp s 1937^ -o ' : 7 6e Francaster9 Pierre -.'7 / " ; Houveau Des sin^Eouvelle Peihture, . L:gEc61e De Pariso - . ' - Lihrairie De Medicis s Paris 9 1 9 \ •. 7® Gagnon9 M aurice ^ • ' . - " ;rv . \:.A - . . P e in tu re Moderne = - v/ : //-. - ^ v; -\ , ^ . . Editions Bernard Valiquette c, Montreal$ 194 -Op -/■ • .80 Gordon^ Jan . - - - ^ • • i;.v: " . . " - Modern French Painters« . : : ;; Dodd? Mead and Co0 c, New York,. 1929® " . . .- 9® ■ Huyghey Rene ■ ...... '. A- o The Contemporaries, French Paintingo . ■ French and European Publications In'c0 ? New York, 1939® 10® Marxg Claude Roger ' ■ : - Raoul Dufy o : " .. Ao Zwemmer5, London ’ ; V . .. r Fernand Hazans P a r is 1950® llo. Malraux? Andre. :': ^ v, - v : . . ' ’ ■ - ' ■ < Jhe .ggychology of M to : ^ ; •■.. ; ; :; ' . v ; . P antheon Booksc, in d o , New York® : Editions Albert Skira? Genera 9 1949» ' ' 12o Haynal9 Maurice < - i - - v : : - ■ - Modern Frehch Painters^ - ' ■ ' ■■■. • " - - - - . Tudor Publishing Co®,: Hew. York, 1928® : .. :; ' : 13o S e h a e ife r“Simmern3 H enry; ' ‘v; ■ ;- :v' ' \;:1- .. ■ : V ‘ ■ The Bnfoldins. of A rtistic A ctivity<, , ■ • - ■ 'University of California Press s Berkeley/ 1948« ; ;:;v • , 14. Gkira, Albert 4 4 • . : 4v'-i:: I j . The History, of Modern'Painting. Vol. 110 ; , - : '• Editions Albert Skira? Geneva? 195°^ I ' • ;l5o Yiaminckj Maurice de . .. . A- //'" PortraitsAvant beee.s.. .. '4 v4 . '. . .r t': - - ■ : ; ;Ernesi Flammariong Parls^ 19434 ' /l,. / /l6@ Whitehead; .Alfred/North . ' . : ; . • : ' . - The: Aims of Education and Other . Essays s • :. 4 . ; : ; ■ ..'The Macmillan. Co® 5-1929 <> 4 . • 4 ■ ' ' ; I?.' Miienski$ Eeginald Howard ' v • \ - ' .. Modern French Painters . . : . ' ■ ■"4-44'.4- ii:y '-;. 4'.;;' ; .. ' Hare our 19 Brace and. Co. 9 New York; 1949. ;:'f: : ' l8o .Zervos.$ {Christian. / , - ^ .' /'l ■ : .': Historie de 1 * Aft Cont emnor ain. :' ■ ’ 4 ' ' 44 4 : • v Editions Cahiers D,!Artj Paris. . 1- . - :. . • : 19. -Eucker«, Paul ,.4'- - : : . { ; x 4; ■ ; Gtyles in P a in tin a . - - ■. ■. ; v-:; - ■:' • ■ l- - : - •; L The Viking Press9 New York; 1950. - v ■ . '

■ ■ '. '1 { { i . r : ^’9.4 ' : ; 4l4-:: , Periodl cals ' ' .■■■4 . . . -■■■

. ' 20. Lif e Magazine; nThe French Mastersvol. 27$ No.24 ? . Uecember 12;i:1949y; P®. 97° ' 4 : , ' ' . : ■ ; 21. Life MagazineyTLetters to the Editor," vol. 30. No® . . . Febriuary 12:? 195i 9 :.P ° 11® ’ 4- - 4 ' : - . 422. Life Magazine =, HRaoul Dufy in America 4 vol. 30; No. "5$ J a n u a r y 2 2 4 1 9 9 1) 92= \ ' . ' ' ; . . ' ;r 4 . - -' . ■" 23o' iTiiae Magagi$ae? volo L¥s Bo". 26* - ■ ■ -Jim0 26, 1950^ p= 58o . . .. ' 24-0 Time Magazine 9 ’’A rt 5, ** 3 v o l o L ¥ IS No6 !0 $ ■ • : Septem ber 19503 P® x4-9o.: v ' ; . . ; . ' 25e Verve, “Reflections on A rt211 ? NOo 3$- Oeto-Dec®• : ■ ■ Printed in France© ' ' . / :-V w&ra 11 iio uw^ i /wn w w i r b u uu wju a av uai^u o u uwbxj r w m # UNITED STATES COPYRIGHT OFFICE

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