Marcel DyfDjeuner Champtre1950's
1950's
About the Item
- Creator:Marcel Dyf (1899-1985, French)
- Creation Year:1950's
- Dimensions:Height: 31.5 in (80.01 cm)Width: 36.75 in (93.35 cm)Depth: 3 in (7.62 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Sheffield, MA
- Reference Number:
Marcel Dyf
Known for his pastoral landscapes, still-life paintings of flower bouquets, and portraits — notably of his wife, Claudine — French painter Marcel Dyf is widely regarded as one of the last of the true Impressionists. His mastery of composition and use of soft colors influenced many artists, setting the standard for 20th-century Post-Impressionism.
Dyf was born Marcel Dreyfus in 1899 in Paris. As a child, he displayed artistic talent but briefly considered a career as an engineer before becoming a professional painter at 23, influenced by the likes of Pierre-Auguste Renoir, Rembrandt van Rijn and Johannes Vermeer.
In 1922, Dyf set up a studio in Arles and initially painted landscapes, capturing scenes of the surrounding countryside in oil on canvas. He produced many landscapes depicting Provence, Brittany, Normandy and locales further afield such as Venice, Morocco and Israel.
It wasn’t long before Dyf’s works caught the eye of art dealers and collectors, and he was urged to exhibit in Paris at the Salon des Artistes Français, the Salon d’Automne and the Tuileries.
In 1935, he moved from Arles to Paris and, at the outbreak of World War II, joined the French Resistance. Following the war, during the 1950s, he met 19-year-old model Claudine Godat, who — despite their 36-year age difference — became his wife, muse and subject for many of his most well-known portraits. These include Claudine Songeuse, Claudine and the Red Rose and Claudine with Flowers.
Over the course of his career, Dyf created a substantial body of work — he made landscape paintings, portraits and figurative works. He also painted frescoes in the Museon Arlaten in Arles and produced decorative pieces in the town halls of Saintes-Maries-de-la-Mer and St-Martin-de-Crau.
Following his death in 1985, Dyf’s paintings continued to be featured in numerous exhibitions. The General Council of Bouches-du-Rhône staged a retrospective of his early works in 1995. Four years later, a show that marked what would have been his 100th birthday was held at the L’Espace Dyf in Bois-d’Arcy.
Today, Dyf’s paintings and prints are highly sought by dealers and collectors of Impressionist and Post-Impressionist art.
Find original Marcel Dyf paintings and wall decorations on 1stDibs.
- ShippingRetrieving quote...Ships From: Sheffield, MA
- Return PolicyThis item cannot be returned.
- Les VendangesBy Georges d'EspagnatLocated in Sheffield, MAGeorges d'Espagnat French, 1870 - 1950 Les Vendanges Signed gdE (lower left) Oil on canvas 67 by 43 in. W/frame 71 by 47 in. Born at Melun on 14th August 1870, Georges d’Espagnat...Category
1910s Post-Impressionist Figurative Paintings
MaterialsOil
- Le Piège à OiseauxBy Georges d'EspagnatLocated in Sheffield, MAGeorges D'espagnat French, 1870 - 1950 Le Piège à Oiseaux Signed gdE (lower right) Oil on canvas 66 3/4 by 48 1/2 in. W/frame 70 ¾ by 52 ½ in. Born at Melun on 14th August 1870, G...Category
1910s Post-Impressionist Figurative Paintings
MaterialsOil
- BathersBy John Edward CostiganLocated in Sheffield, MAJohn Edward Costigan, N.A. American, 1888-1972 Bathers Oil on canvas Signed ‘J.E. Costigan N.A.’ lower left 20 by 24 in. W/frame 26 by 30 in. John Costigan was born of Irish-American parents in Providence, Rhode Island, February 29, 1888. He was a cousin of the noted American showman, George M. Cohan, whose parents brought the young Costigan to New York City and was instrumental in starting him on a career in the visual arts. They were less successful in encouraging him to pursue formal studies at the Art Students League (where, however, he later taught) than in exposing him to the commercial art world through the job they had gotten him with the New York lithographing firm that made their theatrical posters. At the H. C. Miner Lithographing Company, Costigan worked his way up from his entry job as a pressroom helper, through various apprenticeships, to the position of sketch artist. In the latter capacity he was an uncredited designer of posters for the Ziegfeld Follies and for numerous silent films. Meanwhile, he had supplemented his very meager formal studies in the fine arts with a self-teaching discipline that led to his first professional recognition in 1920 with the receipt of prizes for an oil painting and watercolor in separate New York exhibitions. A year earlier, Costigan had wed professional model Ida Blessin, with whom he established residence and began raising a family in the sleepy little rural New York hamlet of Orangeburg, the setting for the many idyllic farm landscapes and wood interiors with which he was to become identified in a career that would span half a century. John Costigan’s first national recognition came in 1922 with his winning of the coveted Peterson Purchase prize of the Art Institute of Chicago for an oil on canvas, “Sheep at the Brook.” It marked the start of an unbroken winning streak that would gain him at least one important prize per year for the remainder of the decade. The nation’s art journalists and critics began to take notice, making him the recurring subject of newspaper features and magazine articles. The eminent author and critic Edgar Holger Cahill was just a fledgling reporter when he wrote his first feature, “John Costigan Carries the Flame,” for Shadowland Magazine in 1922. Costigan had his first one-man show of paintings at the Rehn Gallery on New York’s 5th Avenue in November, 1924, to be followed less than three years later by another at the Art Institute of Chicago. In addition, Costigan’s work has been—and continues to be included, side-by-side with that of some of America’s most high-profile artists, in museum and gallery exhibitions throughout the country. His renown had peaked in the early 1930s, by which time his work had been honored with nearly every major award then being bestowed in the fine arts and had been acquired for the permanent collections of several prestigious American museums, including New York’s Metropolitan (which only recently, in 1997, deaccessioned his “Wood Interior,” acquired in 1934). Although Costigan’s celebrity had ebbed by the late 1930s, the Smithsonian Institution saw fit in 1937 to host an exhibition exclusively of his etchings. And, in 1941, the Corcoran Gallery (also Washington, D.C.) similarly honored him for his watercolors. (Another Washington institution, the Library of Congress, today includes 22 Costigan etchings and lithographs in its permanent print collection.) During World War II, Costigan returned briefly to illustrating, mainly for Bluebook, a men’s pulp adventure magazine. A gradual revival of interest in his more serious work began at the end of the war, culminating in 1968 with the mounting of a 50-year Costigan retrospective at the Paine Art Center and Arboretum in Oshkosh, Wisconsin. Oils, watercolors and prints were borrowed from museums and private collections throughout the country, and the exhibition was subsequently toured nationally by the Smithsonian Institution. John Costigan died of pneumonia in Nyack, NY, August 5, 1972, just months after receiving his final prestigious award —the Benjamin West Clinedinst Medal of the Artist’s Fellowship, Inc., presented in general recognition of his “...achievement of exceptional artistic merit...” in the various media he had mastered in the course of his career. This painting depicts one of the artist's favorite themes --the farm family bathing...Category
1950s Post-Impressionist Figurative Paintings
MaterialsOil
- Woman in KimonoBy Everett Lloyd BryantLocated in Sheffield, MAEverett Lloyd Bryant American, 1864-1945 Woman in Kimono Oil on canvas Signed lower right 30 by 25 in. W/frame 35 by 30 in. Everett studied wit...Category
1920s Post-Impressionist Figurative Paintings
MaterialsOil
- Woman and ChildBy John Edward CostiganLocated in Sheffield, MAJohn Edward Costigan, N.A. American, 1888-1972 Woman and Child Oil on canvas Signed ‘J.E. Costigan N.A.’ lower left 24 by 30 in. W/frame 32 by 38 in. John Costigan was born of Irish-American parents in Providence, Rhode Island, February 29, 1888. He was a cousin of the noted American showman, George M. Cohan, whose parents brought the young Costigan to New York City and was instrumental in starting him on a career in the visual arts. They were less successful in encouraging him to pursue formal studies at the Art Students League (where, however, he later taught) than in exposing him to the commercial art world through the job they had gotten him with the New York lithographing firm that made their theatrical posters. At the H. C. Miner Lithographing Company, Costigan worked his way up from his entry job as a pressroom helper, through various apprenticeships, to the position of sketch artist. In the latter capacity he was an uncredited designer of posters for the Ziegfeld Follies and for numerous silent films. Meanwhile, he had supplemented his very meager formal studies in the fine arts with a self-teaching discipline that led to his first professional recognition in 1920 with the receipt of prizes for an oil painting and watercolor in separate New York exhibitions. A year earlier, Costigan had wed professional model Ida Blessin, with whom he established residence and began raising a family in the sleepy little rural New York hamlet of Orangeburg, the setting for the many idyllic farm landscapes and wood interiors with which he was to become identified in a career that would span half a century. John Costigan’s first national recognition came in 1922 with his winning of the coveted Peterson Purchase prize of the Art Institute of Chicago for an oil on canvas, “Sheep at the Brook.” It marked the start of an unbroken winning streak that would gain him at least one important prize per year for the remainder of the decade. The nation’s art journalists and critics began to take notice, making him the recurring subject of newspaper features and magazine articles. The eminent author and critic Edgar Holger Cahill was just a fledgling reporter when he wrote his first feature, “John Costigan Carries the Flame,” for Shadowland Magazine in 1922. Costigan had his first one-man show of paintings at the Rehn Gallery on New York’s 5th Avenue in November, 1924, to be followed less than three years later by another at the Art Institute of Chicago. In addition, Costigan’s work has been—and continues to be included, side-by-side with that of some of America’s most high-profile artists, in museum and gallery exhibitions throughout the country. His renown had peaked in the early 1930s, by which time his work had been honored with nearly every major award then being bestowed in the fine arts and had been acquired for the permanent collections of several prestigious American museums, including New York’s Metropolitan (which only recently, in 1997, deaccessioned his “Wood Interior,” acquired in 1934). Although Costigan’s celebrity had ebbed by the late 1930s, the Smithsonian Institution saw fit in 1937 to host an exhibition exclusively of his etchings. And, in 1941, the Corcoran Gallery (also Washington, D.C.) similarly honored him for his watercolors. (Another Washington institution, the Library of Congress, today includes 22 Costigan etchings and lithographs in its permanent print collection.) During World War II, Costigan returned briefly to illustrating, mainly for Bluebook, a men’s pulp adventure magazine. A gradual revival of interest in his more serious work began at the end of the war, culminating in 1968 with the mounting of a 50-year Costigan retrospective at the Paine Art Center and Arboretum in Oshkosh, Wisconsin. Oils, watercolors and prints were borrowed from museums and private collections throughout the country, and the exhibition was subsequently toured nationally by the Smithsonian Institution. John Costigan died of pneumonia in Nyack, NY, August 5, 1972, just months after receiving his final prestigious award —the Benjamin West Clinedinst Medal of the Artist’s Fellowship, Inc., presented in general recognition of his “...achievement of exceptional artistic merit...” in the various media he had mastered in the course of his career. This painting depicts one of the artist's favorite themes --the farm family bathing...Category
1940s Post-Impressionist Landscape Paintings
MaterialsOil
- Family in a ParkBy Italo George BottiLocated in Sheffield, MAGeorge Botti Italian, 1923-2003 Family in a Park Oil on canvas 36 by 36 in. W/frame 42 by 42 in. Signed lower right Barrel George Botti was born on 2...Category
1960s Contemporary Figurative Paintings
MaterialsOil
- Gazebo in the WoodBy Paulette BurLocated in Roma, ITBuilding in Nature is an original artwork realized by Paulette Bur in the XX century. Oil on canvas. Hand-signed by the artist on the lower left corner. Perfect conditions. The art...Category
Early 20th Century Post-Impressionist Figurative Paintings
MaterialsOil
- Bord de mer animéLocated in Columbia, MOEugène-François Deshayes (1808–1875) was a French artist known for his landscape and marine paintings. He was born in Paris and initially trained as a lawyer, but his passion for art...Category
Late 19th Century Post-Impressionist Landscape Paintings
MaterialsOil, Panel
- Pont Neuf, May 8 by Lesley Powell, Framed Oil Parisian Scene with BridgeBy Lesley PowellLocated in Atlanta, GAUnframed this piece measures 12"H x 16"W Lesley Powell paints in oils with a classical approach to composition and color, but she has a point of view that is fresh and contemporary....Category
21st Century and Contemporary Post-Impressionist Landscape Paintings
MaterialsOil, Linen
- Pont Neuf IV by Lesley Powell, Framed Oil Parisian Scene with BridgeBy Lesley PowellLocated in Atlanta, GAUnframed this piece measures 11"H x 14"W Lesley Powell paints in oils with a classical approach to composition and color, but she has a point of view that is fresh and contemporary....Category
21st Century and Contemporary Post-Impressionist Landscape Paintings
MaterialsLinen, Oil
- Children's RoomBy Odette ChauvetLocated in Pasadena, CACHAUVET Odette Born in Nantes (Loire Atlantique) 20th . French. Painter of portraits, interiors, still lifes. She exhibited in PARIS at the Salon d'Automne since 1919, she also exhib...Category
Early 20th Century Post-Impressionist Figurative Paintings
MaterialsOil
- Summer Italian Harbor - Painting by Mario Evangelisti - 1973Located in Roma, ITSummer Italian harbour is an orginal modern artwork realized in 1973 by the Italian artist Mario Evangelisti. Mixed colore oil painting on canvas. Hand ...Category
1970s Post-Impressionist Figurative Paintings
MaterialsOil