Curated by Jacqueline Munck at the Fondation Gianadda, a work such as Raoul Dufy's La Terrasse sur la plage (1907) also bears witness to the dazzle that the painter, along with Othon Friesz and Georges Braque, developed in turn in Normandy. Dufy lends a luminous tone to this moment of seaside conviviality, playing on unidirectional hatching as a design and the complementarity of pink, yellow and green, whose juxtaposition creates a strong contrast. Similarly, in his Paysage aux vaches (1906), Robert Delaunay confined himself to brushstrokes barely laid on the canvas - where the influence of Signac and Divisionism can be seen. And although he achieved a relatively complex composition, it was without the flamboyance that delighted Derain, notably in his Phare de Collioure (1905).

Excerpt from an article by Emma Noyant to be published in Art magazine N°108 Absolument.

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