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Maurice de VlaminckLa Route by Maurice de Vlaminck - Landscape painting
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La Route by Maurice de Vlaminck (1876-1958)
Oil on canvas
64.8 x 81 cm (25 ¹/₂ x 31 ⁷/₈ inches)
Signed lower left, Vlaminck
This work is accompanied by a letter from the Wildenstein Institute dated 21st March 2005 stating that it will be included in the forthcoming Catalogue Raisonné de l'oeuvre de Maurice de Vlaminck being prepared the Wildenstein Institute.
Provenance: Christie's, New York, 2005
Private collection, USA, acquired from the above
Christie's, New York, 2013
Stern Pissarro Gallery, London, acquired from the above
Private collection, UK, acquired from the above
Artist biography:
Born in Paris to a French mother, his father was a Flemish violin teacher who encouraged his teenage son to study with the painter Henri Rigalon. A chance meeting on a train with André Derain at the age of twenty-three began a lifelong friendship and turned his attentions to painting as a career. Upon completion of national army service, in 1900 De Vlaminck rented a studio with Derain, writing “several mildly pornographic novels” which were illustrated by his friend. Spending much of the day painting in their studio, De Vlaminck earned his living by teaching and performing the violin in the evenings. Two of his ground breaking paintings Sur le zinc (At the Bar) and L'homme a la pipe (Man Smoking a Pipe) emerged during this pivotal period of experimentation with intense colour. Considered one of the principal figures of the French Fauvist movement (c1904-8) he exhibited at the controversial Salon d’Automne in 1905 at which the critic Louis Vauxcelles famously described the young painter and his friends as ‘fauves’ (wild beasts).
For the next few years Vlaminck lived in or near Chatou outside Paris (the inspiration for his painting Houses at Chatou), painting and exhibiting alongside Derain, Matisse, and other Fauvist painters. Vlaminck's compositions represent a deep familiarity with the work of the Impressionists who had painted in the same area nearly fifty years before. At this time his exuberant paint application and vibrant use of colour displayed the influence of Vincent van Gogh. After visiting a Van Gogh exhibition Vlaminck even declared he "loved Van Gogh that day more than my own father". Vlaminck’s painting Sur le zinc calls to mind the work of Henri Toulouse-Lautrec and his portrayals of prostitutes and solitary drinkers, but does not attempt to probe the sitter's psychology—a break with the century-old European tradition of individualised portraiture of modernist ennui. In Vlaminck’s landscape paintings, his approach was similar: ignoring detail so that the landscape expresses mood through violent colour and vigorous brushwork, as in Sous bois (1904). The following year, he began to experiment with "deconstruction," turning the physical world into dabs and streaks of colour that convey a sense of motion. His paintings Le Pont de Chatou (The Chatou Bridge), Les Ramasseurs de pommes de terre (The Potato Pickers), La Seine a Chatou (The River Seine at Chatou) and Le Verger (The Orchard) exemplify this trend.
From 1908 Vlaminck’s predominant influence appears to be that of Paul Cézanne, his palette becoming darker and almost monochromatic, punctuated by heavy strokes of contrasting white paint. In 1911 he travelled to London to spent time painting beside the River Thames as his Impressionist forebears had done so. A poet and prolific auto-biographer, in later life Vlaminck became resentful that Fauvism had been superseded by Cubism and famously blamed Picasso "for dragging French painting into a wretched dead end and state of confusion".
- Creator:Maurice de Vlaminck (1876-1958, French)
- Dimensions:Height: 25.52 in (64.8 cm)Width: 31.89 in (81 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU261213641622
Maurice de Vlaminck
Maurice de Vlaminck was a French painter, best known as one of the spearheads of the Fauvism movement at the start of the 20th century. His reputation rests predominantly on his landscapes, though he also produced still lifes and portraits. Born in Paris in 1876, Vlaminck had relatively little artistic training and, as a young man, dreamt of becoming a professional cyclist. A chance encounter in 1900, however, when he was nearing the end of his national service in the army, proved fateful. It was with the budding artist, André Derain, whom he met when a train they were aboard derailed. The pair lived in the small town of Chatou, a few miles along the River Seine from Paris, and they chose to complete their homeward journey from the French capital that day on foot. They struck up a friendship, and before long were sharing a studio. Derain and Vlaminck would become, alongside Henri Matisse, the driving forces behind Fauvism, the first avant-garde art movement of the 20th century. Partly inspired by the recent innovations of Paul Gauguin and Vincent van Gogh, it was characterised by aggressive brushwork, simplified forms and intense non-naturalistic colours. Its name came from the reaction of a critic in 1905 who compared the artists to fauves (‘wild beasts’). Vlaminck enjoyed painting in primary colours, and is particularly associated with scenes set in and around Chatou. Standout examples include Restaurant de la Machine à Bougival (1905) (today found in the Musée d'Orsay) and The Seine at Chatou (1906) (found in the Metropolitan Museum of Art in New York). The poet Guillaume Apollinaire hailed Vlaminck as ‘the wildest of the Fauves’. In the years immediately before the outbreak of World War I, the artist’s style shifted. His palette grew slightly more sombre, and there was a greater emphasis on solidity and a landscape's underlying structure. This revealed the influence of Paul Cezanne — the subject of a ground-breaking, posthumous retrospective in Paris in 1907. Vlaminck worked in a munitions factory during the war. His paintings after it were much darker and more realistic than those with which he had made his name. He died in 1958, aged 82.
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