Maurice de Vlaminck
Alongside Henri Matisse and Andre Derain, Maurice de Vlaminck was a pioneer of Fauvism. He sought to use colors and brushwork expressively and disregarded detail in favor of mood. The homes in Chatou, where Vlaminck resided for many years, were his source of inspiration and a recurring motif in many of his artworks. His oil paintings, watercolor paintings, lithographs, heliogravures, and drawings now reside in museums, including the Musée d’Orsay, Paris, and the Museum of Modern Art, New York.
Maurice de Vlaminck Village Maurice de Vlaminck Hand Signed Unique Watercolor$80,000.00Item # 5305
Maurice de Vlaminck Houses Along the Road (Maisons au bord de la route) Maurice de Vlaminck Unique Original Watercolor$75,000.00Item # 5306
Entrée de Village II (La Route de Francheville), 1924 Maurice de Vlaminck Hand Signed Color Lithograph$13,000.00Item # 3090
Vase de Fleurs, c. 1950 Maurice de Vlaminck Hand Signed Color Heliogravure$12,000.00Item # 5230
Nelle-la-Vallée, le Chemin aux Bords du Sausseron Maurice de Vlaminck Hand Signed Lithograph$11,000.00Item # 3210
Bord de Rivière (Riverside) Maurice de VlaminckSOLDItem # 4953
Vase de Fleurs, 1958 Maurice de Vlaminck Hand Signed Color AquatintSOLDItem # 4740
Why Vlaminck ?
Sell Your Vlaminck
Sell your Vlaminck fine art with us. We offer free evaluations.
Artistic Styles of Vlaminck
Fauvism, 20th Century Modern Master Fauvist
Maurice de Vlaminck Complete Biography
News About Vlaminck
Picasso Ceramics: A Market Going Strong
Chagall and Picasso, A Friendship that Wasn’t Meant to Be
A Happy 133rd Birthday to Picasso
Picasso’s Beloved Ceramics Studio in Danger
New scheduled Pablo Picasso Movie: Antonio Banderas and Gwyneth Paltrow Set to Star in Picasso Biopic
Masterworks Fine Art Gallery featured on the Hufffington Post News
Pablo Picasso’s Ceramic Owls
The Muse, Pablo Picasso
Masterworks Fine Art strives to be the best source of fine art for our clients and collectors all over the world. We also want to be an educational resource to the art community. We have educational fine art material for students and researchers, and we will continue to donate fine art to charities. You can see some of our donations made by Masterworks Fine Art. We believe the most direct way to accomplish this is by establishing a lifetime of personal and professional relationships with our clients. More About Us »
Maurice de Vlaminck Biography
French painter, born in 1876 in Paris; died in Rueil-la-Gadeliere. Vlaminck said that what he had tried to “press in paint would, in a social context, have entailed throwing a bomb. He derided Classical and Renaissance art, wished to burn the Ecole des Beaux-Arts ‘with my vermilions,’ and wanted to translate his feelings into paint without a thought of what had been painted before. Vlaminck’s father was of Flemish stock, his mother a Lorrainer: they were both musicians. As a young man living in Chatou, Vlaminck was a racing cyclist (champion and professional). In these years he met Derain, who encouraged him to paint full-time: this he attempted, earning money by playing the violin in a theatre. Derain and he formed the Ecole Chatou. Even by 1900 his colour was violent and his brushwork turbulent: he was largely self-taught. Then in 1901 came the famous visit to Bernheim Jeune’s van Gogh exhibition, where he declared that van Gogh meant more to him than his own father, and where he was introduced by Derain to Matisse. He exhibited perhaps as early as 1902.
Then came the historic Salon d’Automne exhibition of 1905, when Vlaminck joined Derain, van Dongen, Manguin, Puy, Friesz, Marquet, Rouault, Matisse, and the Fauves. Kandinsky invited him to exhibit at the second New Artists’ Association exhibition at Munich and he was represented in Fry’s second Post-Impressionist exhibition in London in 1912. Unlike Derain and Matisse, Vlaminck used colour straight from the tube in his Fauve years: it is more intense than Derain, the brush more fully loaded, the strokes less formally structural than Matisse; the spaces are emphatically evoked. After this initial period he became, like many, interested in Cezanne‘s art around 1906, and then in Cubism (he claims to have initiated Parisian interest in primitive art; this is disputed). In 1910 followed his first one-man show. His later work has pleased critics less. Bright colour is rejected in favour of sombre tones, the wide and deep perspectives are more traditional, the mood sombre. Motoring and racing cars rather than cycling became an interest. He left Paris, living first like van Gogh at Auvers, and then at Verneuil-sur-Avre. His works are mostly undated and their chronology, particularly from the Fauve years, still unsettled. He also wrote poetry, articles (he contributed to Anarchie c. 1900) and extended prose works (e.g. D’un Lit a l’Autre). He painted theatre scenery, made cartoons for tapestry and illustrated books.
K. G. Perls. Vlaminck, New York 1941.
J. Selz. Vlaminck, New York 1963.
Pierre Cabanne. Vlaminck, Paris 1966.