Maurice de Vlaminck, Le Hameau Pres de Verneuil (The Hamlet near Verneuil)


Maurice de Vlaminck The Hamlet near Verneuil (Le Hameau Pres de Verneuil)

Signed Maurice de Vlaminck Color heliogravure, Le Hameau Pres de Verneuil (The Hamlet near Verneuil)

Artist: Maurice de Vlaminck (1876 - 1958)After

Title: Le Hameau Pres de Verneuil (The Hamlet near Verneuil)

Medium: Color heliogravure on Arches wove paper

Image Size: 22 in x 18 1/2 in (55.9 cm x 47 cm)

Sheet Size: 30 1/2 in x 25 in (77.5 cm x 63.5 cm)

Framed Size: approx. 42 1/2 in x 37 in (108 cm x 94 cm)

Edition: Numbered from the edition of 250 in pencil in the lower left margin; stamped with the Guy Spitzer, Paris blindstamp in the image lower left.

Signature: This work is signed in the plate lower left: ‘Vlaminck’.

Condition: This work is in excellent condition.

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Historical Description of this artwork


Maurice de Vlaminck Le Hameau Pres de Verneuil (The Hamlet near Verneuil) is an exquisite example of Vlaminck’s prestige with depicting landscapes. We gaze up a country road lined with barren trees towards a farmhouse pleasantly situated on a bend in the road. The trees have mostly lost their leaves, and those that do remain are burnt orange in color, signaling the changing of the seasons. The sky is a tumultuous mixture of dark blues, grays, and patches of bright white. A storm rumbles on the horizon and the dark colors settle upon the landscape. They infiltrate the windows of the house and lay upon the roof. Vlaminck shades the grass in dark greens, tans, and grays giving it a cold appearance. We can almost imagine that the ground is frozen and hard, still waiting to be warmed up and released by the spring sun. The bare branches of the trees tessellate up into the cloudy sky, guiding our gaze upwards. Touches of cool white highlight the sides of the trees as a wintry sun sheds its light upon the landscape. Using a deep palate of colors with vivid dashes of white, Vlaminck manages to bring an intense and tangible mood to Le Hameau Pres de Verneuil (The Hamlet near Verneuil).

This color heliogravure on Arches wove paper is signed in the plate lower left: ‘Vlaminck’. Numbered from the edition of 250 in pencil in the lower left margin, this work is also stamped with the Guy Spitzer, Paris blindstamp in image lower left.

Catalogue Raisonné & COA:

1. A Certificate of Authenticity will accompany this artwork.

About the Framing:

Framed to museum-grade, conservation standards, Maurice de Vlaminck The Hamlet near Verneuil (Le Hameau Pres de Verneuil) is presented in a complementary 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

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Maurice de Vlaminck Complete Biography

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vlaminck
Maurice de Vlaminck (1876-1958)

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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