New York

Raoul Dufy

Holly Solomon Gallery

According to Raoul Dufy, all the world’s a pattern and we are merely players in a long-running hit. Repetition of a few key elements rules both narrative and scene. The use of certain pictorial devices to frame a view, as if in quotation marks, pushes the stage analogy and the sense of recycled material. Curtains in Le Prado Tiziano, 1949, and Gastronomie, 1950, create prosceniums, and balconies turn street scenes depicted on upholstered chairs into theater. Spectacle is almost always the subject matter, be it concerts, military parades, races, official receptions, circuses, or bullfights. The cycle of “Amphitrite” works arrange discontinuous background events into a horseshoe amphitheater. Atelier aux trois chevalets, 1946, then, is a central work, for it reveals the painter’s studio as backstage, the prop room. Stacked easels, a supremely conventional torso, affect a cardboardlike

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