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Maurice de Vlaminck
Place de L'Eglise ( A Lithograph from Notre Pain Quotidien)
1963

Name: Place de L'Eglise ( A Lithograph from Notre Pain Quotidien)
Brand: Maurice de Vlaminck
Rating: 4.6 (7 reviews)

$750List Price

About the Item

Maurice de Vlaminck (French 1876 - 1958), "Place de L'Eglise ( A Lithograph from Notre Pain Quotidien)" Abstract/ Post-Impressionist Lithograph, 17 x 20, Late 20th Century, 1963 Colors: Black and White Maurice was three years old when his family moved from Paris to Vésinet. He first pursued the same musical career as his parents, who were both musicians, leaving his home as a trained double-bass player in 1892 to move to Chatou near Versailles. After absolving his military service in Vitré Maurice Vlaminck worked as a musician until he accidentally met André Derain in 1900. It was Derain who kindled Vlaminck's artistic ambitions. He decided to become a painter and rented an old hut in which he and Derain shared a studio. A crucial turning point in Vlaminck's artistic development was a visit to a van Gogh exhibition in Paris in the following year. In 1902 the young painter met Henri Matisse, who encouraged him to exhibit at the "Salon des Indépendents". In 1905 Maurice Vlaminck had a group exhibition with Matisse, Derain, Friesz, Manguin and others at the "Salon d'automne". The radically new colour scheme with large areas of pure colour inspired the critic Vauxelles to refer to the artists as the "Fauves". The lively acceptance of this new painting style is reflected in the following acquisition of Vlaminck's entire work by the art dealer Ambroise Vollard. He also arranged the artist's first one-man exhibition in 1906. A brief interest in Cubism is merely reflected in a short intermezzo of a few Cubist compositions. Maurice Vlaminck's artistic work was interrupted for four years in 1914 when he was drafted into the war. After his release Vlaminck established a small studio in Paris where he prepared for his next exhibition. It took place in 1919 at Druet, bringing about the artist's definite break-through. The show was so successful that he was able to buy a house in Valmondois in the same year. Here, in this rural environment, Vlaminck was finally able to develop his own style as a landscape painter. His interest in rural landscapes never ceased, even after his move to the Département Eure-et-Loire in 1925. His work was honoured in numerous international exhibitions during the 1930s. The last years of Maurice Vlaminck's life were determined by his friendship with the Swiss doctor Sigmund Pollag, who collected the artist's graphic oeuvre and donated it to the Kunstmuseum Bern in 1970. Vlaminck wrote more than 20 books, including autobiographic texts.

Creator:
Maurice de Vlaminck (1876-1958, French)
Creation Year:
1963
Dimensions:
Height: 17 in (43.18 cm)Width: 20 in (50.8 cm)
Medium:
Lithograph
Movement & Style:
Post-Impressionist
Period:
1960-1969
Condition:
Gallery Location:
New York, NY
Reference Number:
1stDibs: LU75233443951

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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.