Odalisque couchée, 1909 Signed 'Van Dongen' (upper left) and signed (on reverse) Oil on board - Huile sur panneau 53.3 x 69.2 cm - 21 x 27.2 in. AED 11,019,000 -14,690,000 Provenance Estate of the artist Jean Melas Kyriazi, Lausanne Private collection (acquired in 1998) Private collection, Europe Exhibited Paris, Galerie Charpentier, Van Dongen, Cinquante ans de peinture, 1942, No. 26 Lausanne, Galerie Paul Vallotton, Hommage à Van Dongen, 1971, No. 13 Paris, Galeries Nationales du Grand Palais, Salon d'Automne, 1972, No. 18 Geneva, Musée de l'Athénée, Van Dongen, 1976, No. 13 Tokyo, Seibu Museum of Art, Exposition Les Fauves, 1974, No. 61 Kanazawa, Departmental Museum of Ishikawa, Exposition Les Fauves, 1974, No. 61 Geneva, Musée de l'Athénée, Van Dongen, 1976, No. 13 Monaco, Nouveau Musée National de Monaco, Kees Van Dongen 2008, No. 170, ill. in colour p. 239 Montreal, Musée des Beaux-Arts de Montréal, Kees Van Dongen Jan. 22 - April 19, 2009, No. 170, ill. in colour p. 239 Literature Jean Melas Kyriazi, Van Dongen et le Fauvisme, la Bibliothèque des arts, Lausanne, 1971, No. 47, ill. p. 111 Nathalie Bondil and Jean-Michel-Bouhours, Kees Van Dongen Monaco and Montreal, The Montreal Museum of Fine Arts and Nouveau Musée National de Monaco, 2008, No. 170, ill. in colour p. 239 This work will be included in the forthcoming Catalogue raisonné of Kees Van Dongen being prepared by Jacques Chalom des Cordes under the sponsorship of the Wildenstein Institute Public notes In a series of paintings from the same model between 1906 and 1910, Van Dongen combined colour, technique and subject matter to produce some of the most emotional, energetic and erotically charged examples of Orientalism in French painting. 'Colour made Van Dongen the guiding spirit of Fauvism, the colour he revivified with his trips to Morocco, Spain and Egypt and his reinvention of the Orient in the early beginning of the 20th Century.' 'Yes, he said again, I love all that glitters, precious stones that sparkle, fabrics that shimmer, beautiful women who arouse...painting gives me the most complete possession of it all, I paint because it is often the haunting realization of a dream or an obsession...' Kees Van Dongen
Odalisque couchée, 1909 Signed 'Van Dongen' (upper left) and signed (on reverse) Oil on board - Huile sur panneau 53.3 x 69.2 cm - 21 x 27.2 in. AED 11,019,000 -14,690,000 Provenance Estate of the artist Jean Melas Kyriazi, Lausanne Private collection (acquired in 1998) Private collection, Europe Exhibited Paris, Galerie Charpentier, Van Dongen, Cinquante ans de peinture, 1942, No. 26 Lausanne, Galerie Paul Vallotton, Hommage à Van Dongen, 1971, No. 13 Paris, Galeries Nationales du Grand Palais, Salon d'Automne, 1972, No. 18 Geneva, Musée de l'Athénée, Van Dongen, 1976, No. 13 Tokyo, Seibu Museum of Art, Exposition Les Fauves, 1974, No. 61 Kanazawa, Departmental Museum of Ishikawa, Exposition Les Fauves, 1974, No. 61 Geneva, Musée de l'Athénée, Van Dongen, 1976, No. 13 Monaco, Nouveau Musée National de Monaco, Kees Van Dongen 2008, No. 170, ill. in colour p. 239 Montreal, Musée des Beaux-Arts de Montréal, Kees Van Dongen Jan. 22 - April 19, 2009, No. 170, ill. in colour p. 239 Literature Jean Melas Kyriazi, Van Dongen et le Fauvisme, la Bibliothèque des arts, Lausanne, 1971, No. 47, ill. p. 111 Nathalie Bondil and Jean-Michel-Bouhours, Kees Van Dongen Monaco and Montreal, The Montreal Museum of Fine Arts and Nouveau Musée National de Monaco, 2008, No. 170, ill. in colour p. 239 This work will be included in the forthcoming Catalogue raisonné of Kees Van Dongen being prepared by Jacques Chalom des Cordes under the sponsorship of the Wildenstein Institute Public notes In a series of paintings from the same model between 1906 and 1910, Van Dongen combined colour, technique and subject matter to produce some of the most emotional, energetic and erotically charged examples of Orientalism in French painting. 'Colour made Van Dongen the guiding spirit of Fauvism, the colour he revivified with his trips to Morocco, Spain and Egypt and his reinvention of the Orient in the early beginning of the 20th Century.' 'Yes, he said again, I love all that glitters, precious stones that sparkle, fabrics that shimmer, beautiful women who arouse...painting gives me the most complete possession of it all, I paint because it is often the haunting realization of a dream or an obsession...' Kees Van Dongen
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
