Houses in Munich 1909

Editor: We're looking at Raoul Dufy's "Houses in Munich," painted in 1909. It's an oil painting with this very intense palette... a sort of uneasy feeling pervades the canvas. There are two figures in the foreground that I didn’t see at first glance, very rigid in posture, which increases the tension in my perception. What do you make of it? Curator: You know, it’s funny, because when I first saw this piece, the immediate thought that struck me was: vibrant unease. You pinpointed it beautifully. Look how the colours clash, yet also hum together. And you're right to notice the figures. I always felt like they were a secret, almost, embedded within the vibrant chaos of the houses and the sky, which only becomes apparent after more viewing time. Don't you think their almost comical formality emphasizes the surrounding wildness? Like order attempting to assert itself in a world tilting into Fauvist ecstasy. Editor: Definitely. The word ‘fauvist’ triggered the reference to “Les Fauves” using aggressive brushstrokes with this sort of heightened awareness of the intensity and dissonance among colors. Are you seeing any hints about German Expressionism as well? Curator: Ah, a sharp eye, my friend. Yes! Look at the angularity, the rawness. Dufy was flirting with the burgeoning Expressionist movement too. This painting straddles two worlds, which, for me, makes it all the more compelling. It’s a Fauvist fire viewed through a German Expressionist lens, warped and intensified. What an intriguing combination. Editor: It's like seeing two distinct emotional realities overlaid onto the same physical space. I will definitely need to remember these hints next time. Thank you! Curator: My pleasure! I’ll ponder this marvelous Dufy and hopefully remember the same.