“When something looks too good to be true…. it usually is”.
In 1928 Dufy used an Indian young women as a model for several works. Among them two “Odalisques” or reclining nudes. In the other examples she is dressed and is situated in a sitting in a room. This hand coloured and numbered (probably lithographic) print(?) appears to be an individual and authentic work. It definitely looks very “authentic”. Or someone did his utmost to make it look like…
The stamp on the back refers to the Paris firm of Julien Levebrve-Foinet which existed from 1885 until fairly recently: 2009. It was a well known artists’ materials supplier. But it is also known to have had a large stock of works by the artists they’ve served and represented. Most of it seems to have been auctioned after the family owned firm ended after 125 years in 2009. The calligraphic monogram label is still a puzzle. But since it was sold as “ohne Echtheitszertifikat” (legally meaning: “dream on but I told you so”) this could also mean chasing a hoax.
Two years later in 1930 Dufy must have remembered his “Nue Indienne” when he created other “odalisques” (with butterflies). In 2022 one of them (the last example) was offered in Sotheby’s estimated 22-30.000$. The realised price is unknown.
Dufy always has been one of my favourite French drawers. His (many) impressions of Paris are lovely and iconic and were even published as books. Meeting Dufy with his small odalisque (fake or not: it is a gem) brings me to another favourite theme: interiors with window views. A theme Matisse (and several other French neo impressionists) also explored. In several of his works Dufy united the Odalisque with the Window-view theme and added another personal layer of interests: the actual painting session in a homely setting.
Quite recently I met Australian icon Brett Whiteley and then had this Déja Vue………..
Brett Whiteley (1939-1992) was a successful Australian artist who tragically died from an overdose. He created iconic views in and from his home overlooking Sidney Lavender Bay in a very personal and Fauvist style. And, I am convinced may even have been inspired by Dufy.
Click the middle picture to find some more of my favourite Whitely drawings which look deceivingly simple: … but are not !
gerbrandcaspers@icloud.com
Hofmann, Ludwig von (Darmstadt 17-08-1861 – 23-08-1945 Berlin)
Painter, designer, graphic and printmaker. Son of Prussian statesman Karl von Hofmann (1827-1910) and Cora Kekulé von Stradonitz (1835–1897. His father served as Minister-president of the Grand Duchy of Hesse from 1872 to 1876 and was briefly Trade Minister in the cabinet of Otto von Bismarck (1815-1898. Their children:
• Sophie (b. 1860) ∞ zoologist Justus Carriere (1854-1893)
• Ludwig (1861–1945) ∞ Eleonore Kekulé von Stradonitz (b. 1876)
• Heinrich (1863–1921), “Generalleutnant” ∞ Freiin Asta von Grüter-Diepenbroik (1875–1940)
• Maria (b. 1865) ∞ Justus Thiersch (1859–1937), “Bezirksarzt”, son of surgeon Carl Thiersch (1822-1895)
• Cornelie (b. 1866) ∞ Max von Kaisenberg (1862–1916), “Oberstleutnant”.
He worked in a combination of the Art Nouveau and Symbolist styles. His work was part of the painting event in the art competition at the 1928 Summer Olympics.
Began his studies in 1883 at the Dresden Academy of Fine Arts, then studied with Ferdinand Keller (1842-1922) at the Academy of Fine Arts, Karlsruhe. In 1889, he attended the Académie Julian in Paris, where he came under the influence of Pierre Puvis de Chavannes (1824-1898) and Paul-Albert Besnard (1849-1934).
After 1890, he was a freelance painter in Berlin. From 1894 to 1900, he travelled extensively and spent a great deal of his time at his villa in Fiesole. His appreciation of antiquity and attraction to the idea of Arcadia permeates much of his work. After 1895, he was a regular contributor of illustrations for the Art Nouveau magazine Pan. In 1896, he became a member of the Berlin Secession and he was married in 1899. He was also a member of the Deutscher Künstlerbund
In 1903, he was appointed a Professor at the Weimar Saxon Grand Ducal Art School, where he became a member of the avant-garde literary and artistic group centred around Harry Graf Kessler (1868-1937). Jean Arp (1886-1936) and Ivo Hauptmann (1886-1973) were among his students. In 1916, he was named a Professor at the Academy in Dresden, where he remained until 1931. He also provided illustrations for a new translation of the Odyssey by philosopher Leopold Ziegler (1881-1958) and works by Gerhart Hauptmann (1882-1946) Ivo’s father.
His overall production slackened in the 1930s and, in 1937, some of his works were labeled as "degenerate art". He retired to Pillnitz, near Dresden, where he died in 1945. His remaining works were almost confiscated by the Russians after the war, but his widow managed to save them.
See: Hauptmann, Ivo