Visit for more information on the collection, click on the link below the revolving thumbnail to the right, or email us at. In 1894 he married Suzanne Berly. If you would like to support The Athenaeum, you can donate directly through Paypal below, or shop using any of the links on this page. His father Edmond Julien was Flemish and taught violin and his mother Joséphine Caroline Grillet came from Lorraine and taught piano. The artist eschewed the bright, simplified abstraction of the Fauve style in his later career, adopting a more conservative and limited palette and naturalistic style. The turning point in his life was a chance meeting on the train to Paris towards the end of his stint in the army.
In 1911, Vlaminck traveled to and painted by the. The brushwork is quite masterful and expressionistic, communicating directly the intensity of the windswept sea and sky. Klein suggests that this composition, among others, is quite similar to a popular postcard of the riverbank at Le Pecq, which was on the other side of the bend in the Seine River from Chatou. When Vlaminck completed his army service in 1900, the two rented a studio together, the Maison Levanneur, which now houses the Cneai, for a year before Derain left to do his own military service. James and Courtney Graham Donnell, Twentieth-Century European Paintings University of Chicago Press, 1980 , p. In 1913, he painted again with Derain in Marseille and Martigues. Along with André Derain and Henri Matisse he is considered one of the principal figures in the Fauve movement, a group of modern artists who from 1904 to 1908 were united in their use of intense color.
Although the woman is staring out at the viewer, her gaze is blank, detached. During the Vlaminck visited Germany and on his return published a tirade against Picasso and Cubism in the periodical Comoedia in June 1942. He began painting in his late teens. Rather than avoiding creating a psychological portrait, Vlaminck has succeeded in lending the woman, with her vapid stare, a stark and tragic demeanor. Vlaminck combines natural elements with the man-made monument, which seems to merge with the houses on the opposite side of the river.
Their aim was to subvert the established political and economic order and liberate the working class. Her reddish nose is visual shorthand for alcoholism, which is emphasized by the oversized red glass on the bar. In 1902 and 1903 he wrote several mildly pornographic novels illustrated by Derain. He married his second wife, Berthe Combes, with whom he had two daughters. Rather than a point of access to the city across the river, the bridge reads as an obstacle - or, alternatively, a protective barrier.
The artist offsets the depressing mood of the painting by somewhat salaciously mocking the sitter's oversized breasts to represent the last two zeros in the year that it was completed, 1900. A gifted story teller, Vlaminck wrote many autobiographies, which were somewhat marred either by vagueness or lack of absolute truthfulness. In 1894 he married Suzanne Berly. The minimal visual descriptions of objects, whether houses, trees, river, or clouds, provides this landscape with a kind of abstract simplicity made less serene by the swirls of color and twisting trees, which are indicative of the strong influence of van Gogh. Oil on canvas - Private Collection.
At this time his exuberant paint application and vibrant use of colour displayed the influence of Vincent van Gogh. New York: Sidney Janis Gallery, 1958 , n. Vlaminck, then 23, met an aspiring artist, André Derain, with whom he struck up a lifelong friendship. Photograph of left and Vlaminck right , 1942 Maurice de Vlaminck was born on in. In 1913, he painted again with Derain in and.
New York: Sidney Janis Gallery, 1950 , n. During the Vlaminck visited Germany and on his return published a tirade against Picasso and Cubism in the periodical Comoedia in June 1942. So generic and simplified are the features of the sitter that it would be something of a leap to assert that Vlaminck was depicting a specific woman. Maurice De Vlaminck Maurice de Vlaminck was born on Rue Pierre Lescot in Paris. Vlaminck, like many of his fellow avant-garde artists, once again engages with the theme of prostitution and brothel life.
Since late 2000 when we started the site, we have invested thousands of dollars of our personal money to keep it going. Paris: Galerie Bing et Cie, 1927 , n. This site is a labour of love produced over many years by a couple of people. His later work displayed a dark palette, punctuated by heavy strokes of contrasting white paint. He began painting in his late teens. Vlaminck, then 23, met an aspiring artist, André Derain, with whom he struck up a lifelong friendship. Characteristic of the Fauve style, Vlaminck refrains from producing realistically rendered shadows and instead uses complementary colors to suggest an essentially deserted town on a quiet autumn afternoon.