The trick of living in the south of France is to go in to hiding during high season, while the roads are clogged and the markets jammed. A quick trip to Saint Tropez before the tourists arrive had me popping in to L’Annonciade, a museum that while in a prominent harbour position, gets overlooked as some of the world’s most ostentatious boats scream out for attention.
I haven’t been to this museum for years so was intrigued to realise when I got back home that I bought the very same two postcards I’d bought years ago:
I’m not sure what is going on with the face in this painting. It seems a very odd shadow. But other than that I think it’s pretty staggering. There is such solidity to the body. I’m intrigued by the bold contour line, which I’ve seen recently in Alice Neel’s paintings and Egon Schiele, while the sturdiness of flesh reminds me of Lucian Freud.
This appeals to me primarily because of the greens and blues in the upper right corner and the way that Dufy has tackled painting the hand – he’s just left it out! And yet this absolutely works – the left side of the body and left arm are in full light, there is such a bright spot at the hand that we don’t even make it out. This really gives me the feeling that he painted this to show us not what but how he saw.
(That said, I am a bit disappointed in the lower half of the body, I find the shadow under the left buttock and the left leg a bit unconvincing).
Couldn’t stop looking at this painting! I am fascinated by the matte black shapes of the two women’ jackets, their hair, the chairs, window and lampshade. What confidence. As I break down the composition into its parts it seems extraordinary that it hangs together as it does: blurry sofa in foreground, crazy red and black wall paper, two women with their backs to us, sitting by a window, night-time.
I got as close as I could to this painting without freaking out the museum guards, to see if there was any tonality in those black shapes. Not one bit, they are perfect solid black shapes. And yet we can feel the curve of the backs of these women, their tight corseting, padded shoulders.
There is barely any suggestion of tone or form anywhere. Alongside the black shapes is a flat brown shape of a skirt, just a couple of lines to suggest folds. A pale blue lamp base lit from above, maybe the hint of shadow at its base.
The pose of the women appeals to me. They have made themselves comfortable, they are unwatched, unposed. The woman on the right seems to have her hand up on her shoulder, she’s leaning in to the chair. The other is leaning in to the table, as her chest slumps forwards her forearms bear her weight and her shoulders rise.