Vlaminck, Maurice de, La route de Nesles (The Way to Nesles)
|Artist:||Vlaminck, Maurice de (1876 - 1958)|
|Title:||La route de Nesles (The Way to Nesles)|
Original Lithograph on Chine Volant
|Image Size:||18 in x 15 in (46 cm x 38 cm)|
|Framed Size:||34 1/16 in x 31 1/4 in (86.5 cm x 79.4 cm)|
|Signed:||Hand signed by Maurice de Vlaminck (Paris, 1876- Rueil-la-Gadeliere, 1958) in pencil in the lower right margin.|
|Edition:||Numbered "N 77" in pencil in the lower left margin out of the edition of 100.|
|Condition:||This work is in good condition; backed on board with minor creasing to the upper right and upper left of image, eased out by expert conservation.|
|Gallery Price: |
|SOLD, but we have similar works in our Vlaminck collection!|
|Historical Description of This Work:|
Created in 1921, this work was printed by Charlot Frères and published by Galerie Simon, Paris. The work is from the edition of one hundred and is noted N 77 in the lower left margin and hand signed in pencil by Maurice de Vlaminck (Paris, 1876- Rueil-la-Gadeliere, 1958) in the lower right margin.
Employing sharp tonal contrast and exuberant lines, Vlaminck creates a quaint village scene animated by a single promenading figure. The brilliant white of the buildings, the budding of the trees in the foreground, and the windswept sky signify the warmth and beauty of spring. Leisurely walking towards the viewer, the figure appears with head turned, observing the changing landscape before him. Of his work Vlaminck is noted as stating, "I try to paint with my heart and my loins, not bothering with style" (Chilvers, pg. 588).
DOCUMENTED AND ILLUSTRATED IN:
1. Walterskirchen, Katalin, Maurice de Vlaminck Catalogue Raisonné de
l'oeuvre grave, 1974, listed as plate 163 on page 141.
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|Style:||19th Century, Fauvism|
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.
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Artistic Styles of Vlaminck
19th Century, Fauvism
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