Description:Raoul Dufy began to paint in an initially impressionistic style, and then, after 1905, became more receptive to fauvist influences, particularly those of Matisse, although he also enjoyed a brief flirtation with a singular form of Cubism between 1908 and 1912. From 1920 onwards, he produced a highly decorative painting style characterised by calligraphic and flexible outlines, and, above all, by the generous use of areas of colour. In his work, colour takes on a highly important role, since, in the process of perception, the gaze becomes aware of it more quickly and more intensely than it does the outline of figures. Such an awareness was to result in a personal pictorial process that Dufy himself was to call “tonal painting” in 1944, in which each painting is dominated by one primary colour. This effect can be seen in this work, in which red superimposes itself on the other two primary colours used, blue and yellow. The memory of Matisse is never far from this work, seen in the intimism of the proposed theme, a female nude stretched out in the studio with the voluptuousness of an odalisque in front of a lilac canvas and a window that opens onto the street. The same influence is also seen in the contrasts between the colours used, ranging from the smooth shades of red on the wall to the blue of the shutters and the yellow of the floor and street, as well in the more spontaneous pictorial calligraphy of the pasty brushstrokes of the couch, suggesting a highly elegant arabesque.