Bois à La Jonchère, 1912

by Maurice Vlaminck


Maurice de Vlaminck was a French painter best known for his vividly hued landscapes. As with the other Fauves, Henri Matisse and André Derain, Vlaminck was influenced by the expressive works of Vincent van Gogh. “I heightened all the tones, I transposed in an orchestration of pure colours all the feelings I could grasp,” he once stated. “I was a tender barbarian filled with violence.”

DIMENSIONS: (unframed) 32.0 x 40.0 ins/ 81.28 x 101.60 cm
SIGNATURE: Signed ‘Vlaminck’ (lower left)
MEDIUM: Oil on canvas

Catalogue No: 6321 Categories: ,

As a member, and founder, of the Fauvist movement in the early 20th Century, this
work by Vlaminck serves as a wonderful insight into the essence of that methodology.
Painterly qualities are emphasised with broad dabs of the brush on the canvas, used in
bold directional strokes. These lines seem to bring the scene dynamically to life,
taking it from a static representation of a place to an expression of the artist’s feeling
of that place. Blues and oranges offset each other, revealing Vlaminck’s interest in
colour theory and characteristically Fauvist use of complementary colours.

Galerie Drouant-David, Paris (1956);
Dalzell Hatfield Galleries, Los Angeles;
Perls Galleries, New York;
Private collection, New York (acquired from the above, 1983);
Private Collection, California

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P. Mac Orlan, Vlaminck, Paris, 1947 (illustrated in colour, pl. IX)
Maithe Valles-Bled and Godelieve de Vlaminck will include this painting in their forthcoming Maurice
de Vlaminck catalogue critique currently being prepared under the sponsorship of the Wildenstein

Fauvist painter Maurice de Vlaminck was born to a French mother and Flemish father in 1876 in Paris. He was enraptured with colour from a young age and although he enrolled in some drawing classes, he was largely self-taught and proudly rejected the system of the academy. His artistic career launched at the age of 23, after a chance encounter with the painter André Derain who became his lifelong friend.

Vlaminck cultivated a Fauvist style of short, choppy brushstrokes, which emphasised colourist dynamism and his exploration of the expressive nature of colour set him in line with other Fauvists including Derain, Henri Matisse and Raoul Dufy. Vincent van Gogh’s application of paint, expressive use of colour, and his psychological exploration of his sitters were indelibly influential to Vlaminck. He experimented with technique, applying unmixed paint in daubs directly from the tube onto the canvas, and venturing outside of the conventions of realistic representation in favour of the liberation of colour, a step in modern art development toward abstraction. As Fauvism’s popularity began to wan, Vlaminck blamed Picasso and the rise of Cubism for overtaking modernism with overwrought, unnecessary confusion.

Vlaminck pursued other careers before becoming a painter, largely to maintain other sources of income. When the major art dealer of the period Ambroise Vollard purchased Vlaminck’s entire stock of paintings in 1906, the artist was finally able to devote himself entirely to painting. His works are included in the permanent collections of major museums and galleries around the world including the Museum of Modern Art, New York; the Art Institute of Chicago; and the Hermitage Museum, St. Petersburg. As a major modernist master, his works sell for tens of millions of dollars; his Paysage de Banlieu sold for $22.5 million.

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