Maurice de Vlaminck, Entrée de Village II (La Route de Francheville), 1924
Signed Maurice de Vlaminck lithograph, Entrée de Village II (La Route de Francheville), 1924
|Artist:||Maurice de Vlaminck (1876 - 1958)|
|Title:||Entrée de Village II (La Route de Francheville), 1924|
|Medium:||Original Color Lithograph|
|Image Size:||13 3/16 in x 9 1/2 in (33.5 cm x 24.3 cm)|
|Sheet Size:||16 3/4 in x 12 7/16 in (42.5 cm x 31.4 cm)|
|Framed Size:||approx. 26 in x 22 in (66 cm x 55.9 cm)|
|Edition:||A State II (of II) impression with the signature; numbered from the edition of 25 signed works in the lower left margin (total edition of 25, 25 signed and 25 unsigned). This piece is printed on Chine Volant by Landelle, Maison Duchâtel, Paris|
|Signature:||This work is hand signed by Maurice de Vlaminck (Paris, 1876- Rueil-la-Gadeliere, 1958) in pencil in the lower right margin; also signed in the stone in black in the lower right 'Vlaminck.'|
|Condition:||This work is in excellent condition, the colors are brilliantly bold and rich.|
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Item # 3090
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Historical Description of this artwork
Created in 1924, this original color lithograph is hand signed by Maurice de Vlaminck (Paris, 1876- Rueil-la-Gadeliere, 1958) in pencil in the lower right margin; also signed in the stone in black in the lower right ‘Vlaminck.’ This piece is a A State II (of II) impression with the signature; numbered from the edition of 25 signed works in the lower left margin. This piece is printed on Chine Volant by Landelle, Maison Duchâtel, Paris and published by Galierie de Peintres Graveurs, E. Frapier, Paris.
Capturing the simple, naturalistic beauty of a small country village, Vlaminck depicts a stunning pastoral scene. The viewer feels as though he or she is on the road, walking through a quaint village. Neatly planted fields and crisp white buildings line the dirt road while trees dot the distant landscape. The larger structure to the right with a vibrant red roof appears perhaps as a schoolhouse, yet its inhabitants are not depicted in the scene. The entire piece relays a sense of quiet and calm, providing a breath of fresh air for the viewer, who almost feels transported within the scene itself, strolling along the road beneath the clear blue sky.
Catalogue Raisonné & COA:
This work is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work).
1. de Walterskirchen, Katalin, Maurice de Vlaminck Catalogue
raisonné de l’oeuvre grave, 1974, listed on pgs. 147-8 as cat. no. 171 [II].
2. A Certificate of Authenticity will accompany this work.
About the Framing:
This work is framed to museum-grade, conservation standards, presented in a complimentary moulding and finished with silk-wrapped mats and optical grade Plexiglas.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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Artistic Styles of Vlaminck
Fauvism, 20th Century Modern Master Fauvist
Maurice de Vlaminck Complete Biography
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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.