• Welcome to PaintingMania.com
  • Hello, New customer? Start here.
  • Raoul Dufy
    Jun 3, 1877 - Mar 23, 1953
  • The Red Houses of Sainte-Adresse - Raoul Dufy was a French artist and designer whose paintings and prints portrayed leisure activities and urban landscapes. His distinctive style is characterized by bright colours thinly spread over a white ground, with objects sketchily delineated by sensuously undulating lines. Dufy took as his subjects scenes of recreation and spectacle, including horse races, regattas, parades, and concerts.
Shop by Art Gallery
The Red Houses of Sainte-Adresse
  • Pin It
  • Share on Tumblr
  • Enlarge
  • The Red Houses of Sainte-Adresse

  • Raoul Dufy
  • Standard size
    We offer original aspect ratio sizes
  • Price
  • Qty
  • 20 X 24 in
  • $95.95
  • 24 X 36 in
  • $155.95
  • 30 X 40 in
  • $208.95
  • 36 X 48 in
  • $298.95
  • 48 X 72 in
  • $583.95
  • If listed sizes are not in proportion to the original, don't worry, just choose which size is similar to what you want, we can offer oil paintings in a suitable size, painted in proportion to the original.
  • If you would like the standard size, please let us know. Need a Custom Size?
  • line
  • Les maisons rouges de Sainte-Adresse, 1910
    Oil on canvas
    34 x 54 in. (81 x 130 cm.)

    In 1910, the year the present work was painted, Dufy returned to Sainte-Adresse, the town on the Normandy coast whose buildings, cliffs, and water had inspired his major transition in 1905-06 from Impressionism to the bright colors and bold outlines of his Fauve manner. Now, Dufy turned anew to the familiar sights of this seaside hamlet to work through another stylistic turning point in his career: his embrace of a cubist-inspired organization of space and volume. Like many of his colleagues, the painter had found inspiration for this new direction at the Cézanne retrospective at the 1907 Salon d'Automne. The following year, he joined Braque at L'Estaque, and the two painters rendered the local trees and hillsides in rigorously juxtaposed, simplified planes. Commenting on Dufy's selective adoption of cubist methods, Dora Perez-Tibi has stated: "While Braque, like Picasso, was to take his experiments further, towards an almost hermetic analysis of forms--conveying their internal structures in an explosion of facets on the surface of the canvas, the source of the cubist aesthetic--Dufy would go on to rediscover the spirit of the older painter's method, and intensify his experiments with the expressive possibilities of space that Cézanne's aesthetic offered to him" (in Raoul Dufy, London, 1989, p. 37).

    Les maisons rouges de Sainte-Adresse spotlights Dufy's incorporation of cubist techniques into a distinctly personal style. In this work, a concentrated arrangement of houses, towers, and trees rises from the center of a hilly landscape below a bright blue sky. Though the dense composition is largely free of perspective and relies on an architectonic structuring of space in superimposed planes, what distinguishes Dufy's work from that of Braque and Picasso is that was that he preserves the recognizable character of his forms. Here, Dufy also eschews the restricted palette of greens and ochres that he briefly adopted in 1908, applying instead intense Fauve colors to a system of staggered planes. His short, parallel brushstrokes lend a dynamic quality to the flat construction of geometrical forms, revealing his investigation of form and space in a brightly saturated, Cézanne-inspired variation of the cubist style that was closely related to, yet always distinct from mainstream Cubism.

    The strong lines and colors of the present painting also reflect Dufy's preoccupation with woodcuts and textile design in 1910; the constructive brush strokes that characterize his landscapes of Sainte-Adresse mirror his work with a penknife and gouge in relief engravings on wood. To him, these woodcuts represented the most complete expression of his new ideas on the interpenetration of planes. Having become engrossed in Medieval woodcut techniques three years prior, Dufy began printing his woodcuts on dress fabrics in 1910. This bold move attracted the interest of the fashion designer Paul Poiret, who set him up in a studio in Montmartre and gave him free rein to develop new patterns. Fascinated with the crossover between decorative and fine arts, Dufy regarded this new endeavor as a parallel to his oil paintings. As Jacques Lassaigne has noted: "He was convinced that the order of color he had hit on as early as 1908 could logically be applied in the field of decoration, and that gleaming colors printed on silks would strike home much more effectively than oil-paintings on canvas" (in Raoul Dufy, Geneva, 1972, p. 33).

    Why settle for a paper print when you can add sophistication to your rooms with a high quality 100% hand-painted oil painting on canvas at wholesale price? Order this beautiful oil painting today! that's a great way to impress friends, neighbors and clients alike.

  • 100% hand-painted oil painting on artist grade canvas. No printing or digital imaging techniques are used.
  • Additional 2 inch blank border around the edge.
  • No middle people, directly ship to the world.
  • In stock items ship immediately, usually ships in 3 to 10 days.
  • You can order any painting in any size as your requests.
  • $12.95 shipping charge for small size (e.g., size <= 20 x 24 in).
  • The cheapest shipping rate from DHL, UPS, USPS, etc.
  • Canvas stretched on wood bars for free.
    - Need special frame for oil painting? Please contact us.
  • Send you a digital copy via email for your approval before shipping.
  • 45-day Satisfaction Guaranteed and 100% Satisfaction Guaranteed.
Prev The Red Concert The Red Orchestra Next
Would you like to publicly share your opinion of this painting?
Be the first to critique this painting.

Other paintings by Raoul Dufy:

Window on Paris, the Madeleine
Window on Paris, the Madeleine
The Nap (La Sieste)
The Nap (La Sieste)
Harlequin in Venice Playing the Violin
Harlequin in Venice Playing the Violin
Low Coast
Low Coast
Raoul DufyRaoul Dufy was a French artist and designer whose paintings and prints portrayed leisure activities and urban landscapes. He created airy washes of light and shade, into which he would draw bold calligraphic brushstrokes. The artist's experimental use of color was influenced both by Claude Monet and his Fauvist peer Henri Matisse. “Blue is the only color which maintains its own character in all its tones it will always stay blue,” the artist mused. “Whereas yellow is blackened in its shades, and fades away when lightened; red when darkened becomes brown, and diluted with white is no longer red, but another color—pink.” Born June 3, 1877 in Le Havre, France, he enrolled in night classes at the École des Beaux-Arts before studying under Léon Bonnat at the École Nationale Supérieure des Beaux-Arts on a scholarship. Dufy first encountered Fauvism at the Salon des Indépendants in 1905, after which he adapted the style to serve his own artistic purposes. During his life, the artist traveled both abroad and within France, painting views of the Mediterranean city of Nice, as well as scenes of horse races and regattas. Throughout the 1920s, Dufy worked in a variety of materials, producing ceramics, tapestry hangings, and large-scale architectural decorations. His commission for the 26th Venice Biennale won him the International Grand Prix for painting in 1952, a year before his death on March 23, 1953 in Forcalquier, France. Today, the artist’s works are held in the collections of the Musée d’Orsay in Paris, the Hermitage Museum in St. Petersburg, The Museum of Modern Art in New York, and the Art Institute of Chicago.