Maurice de Vlaminck, Untitled, c. 1950
|Artist:||Maurice de Vlaminck (1876 - 1958)|
|Title:||Untitled, c. 1950|
|Image Size:||18 in x 14 7/8 in (45.7 cm x 37.8 cm)|
|Sheet Size:||26 in x 19 3/4 in (66 cm x 50.2 cm)|
|Framed Size:||37 in x 33 in (94 cm x 83.8 cm)|
|Edition:||Numbered from the edition of 195 in the lower left margin.|
|Signature:||This work is hand signed by Maurice de Vlaminck (Paris, 1876- Rueil-la-Gadeliere, 1958) in the lower right margin.|
|Condition:||This work is in excellent condition.|
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Item # 5230
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Historical Description of this artwork
This stunning arrangement of flowers gives new meaning to the still life genre. With delicate and soft strokes set against muted tones in the background, Vlaminck expertly gives the illusion of depth and place while creating richness that can be found nowhere else. A still life of subtle and relaxing energy, this work is one the best we’ve had the pleasure of owning by Vlaminck.
Created c. 1950, this color heliogravure is hand signed in pencil by Maurice de Vlaminck (Paris, 1876- Rueil-la-Gadeliere, 1958) in the lower right margin. Numbered from the edition of 195 in pencil in the lower left margin, this work is published by Crommelynck, Paris.
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. Benteli Verlag: Berne, 1974. Another example is listed as no. 19 on pg. 257.
2. A Certificate of Authenticity will accompany this work.
About the Framing:
Framed to archival, museum grade conservation standards, this piece is framed in a complementary moulding with silk 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.