‘Blue is the only colour which, whatever its tone, preserves its own individuality. Look at blue in all different shades, from the darkest to the lightest, it is always blue’
In Vallauris, Dufy applies varying modulations of the colour blue to delineate sky, sea and the ceiling of the chapel, exploring the pigment’s tonal possibilities to create a composition that is both a lively depiction of the South of France and a rich study in colour, illustrative of the artist’s early roots in Fauvism.
The subject of the present work is the Chapelle Notre-Dame des Grâces, an early 17th century chapel in Vallauris with views over Golfe-Juan. With its distinctive arches, each framing a different section of the surrounding landscape, the chapel offered the perfect subject for an artist renowned for his unique approach to perspective. Dufy scholar Dora Perez-Tibi has commented upon the artist’s creative interpretation of his subject matter, remarking that: ‘Dufy created a theatrical architecture which provided the illusion of space: he conceived his set as a window which allows a view from above, increasing the size of the stage and enabling the painter to extend his vision across the expanse of the sea… Dufy uses an imaginary perspective and gives certain elements of his composition an importance related to his own personal vision. Allowing his imagination free reign, he enlivens the foreground’ (Dora Perez-Tibi, Dufy, London, 1989, pp. 124-25).
In the present work Dufy places the viewer within the walls of the chapel looking out at the diverse surroundings. Strong, gestural brushstrokes constitute the stone floor and lift the eye. A row of cypress trees with their rich green foliage stretch out in front of the chapel’s entrance and stand in stark contrast against the coastal scene with its sunlit houses leading to the beach below. The simplified rendering of the houses juxtapose the characterful evocation of the chapel. The columns are flecked with paint, instilling energy into the scene and evoking the old brickwork of the building. Particular attention is paid to the capitals of each column which, along with the underside of each archway, are painted in vibrant oranges that offset the expanse of blue and accentuate the luminosity of the composition. Dufy’s interest in architecture was sparked by a trip the artist took to Italy in 1922. Painted in 1927, Vallauris reflects the formal possibilities afforded by architecture and Dufy’s personal understanding of perspective, as well as the vivid quality of light and colour unique to the Mediterranean.