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Date: 1877-1968

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Description: Painted in 1921.

signed Van Dongen (upper centre)

oil on canvas

To be included in the forthcoming Van Dongen Catalogue raisonné being prepared by Jacques-Chalom des Cordes under the sponsorship of the Wildenstein Institute.

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Dimensions: 100.5 by 150cm.

39 1/2 by 59in.

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Provenance: PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

Marie-Claire van Dongen (the artist's widow)
Freddy Ayrton, Monte Carlo (acquired from the above)
Acquired from the above by the present owner circa 1987

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Exhibited: Nice, Musée des Beaux-Arts Jules Chéret, Hommage à Kees van Dongen, 1977, no. 23
Tokyo, Galerie de Isetan, Van Dongen, 1978, no. 30, illustrated in colour in the catalogue

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Notes: A stunning example of Van Dongen's art of the 1920s, that became known as the 'années folles', Les Escarpins mauves depicts an unidentified sitter, whose striking pose, clothes and jewellery, give her an air of vibrancy and boldness characteristic of Van Dongen's most accomplished portraits. Although fully clothed in a white dress symbolising purity, the alluring model is depicted in a seductive pose, her beauty accentuated by her hair, her fashionable purple shoes, and the large bracelet executed in dabs of paint applied directly from the tube. The figure's identity, however, remains obscure, as Van Dongen's primary interest lay in the feminine allure of her figure. The subtlety of the woman's skin is emphasised by the contrast with the painting's background rendered in wide brushstrokes of various shades of blue, grey and green, this lack of reference in the setting underlining the mysterious character of the composition. The green highlights of the figure's skin demonstrate the artist's disregard for anatomy and naturalistic representation, in favour of depicting the physicality and sensual presence of his sitter.

Known as the principle portraitist among the Fauve artists, Van Dongen executed portraits inspired by his visits to the cabarets and cafés where dancers performed in exotic costumes, as well as those of members of the high society. In 1917, the artist began a relationship with Léa Jacob, also known as Jasmy, who helped launch his career among the Parisian fashion circles. In 1922 the couple moved to a new residence in rue Juliette Lamber, where Van Dongen held exhibitions and Jasmy hosted extravagant parties attended by influential members of the society. Writing about this period of Van Dongen's career, Denys Sutton commented: 'During the 1920s, Van Dongen became one of the most talked of figures in the French art world and it is only necessary to run through the volume of press cuttings belonging to [his daughter] to be aware of the fact that his name was news. He was frequent visitor to Deauville, where the smart world gathered, and to the cabarets and restaurants of Paris. What appealed to him about the années folles were their movement and gaiety. He once said: 'I passionately love the life of my time so animated, so feverish! Ah! Life is even more beautiful than painting" (D. Sutton in Cornelius Theodorus Marie Van Dongen (exhibition catalogue), Tucson, 1971, p. 46).