Bois à La Jonchère, 1912

by Maurice Vlaminck

P.O.A.

Maurice Vlaminck worked as a musician until he accidentally met André Derain in 1900. It was Derain who kindled Vlaminck’s artistic ambitions. He decided to become a painter and rented an old hut in which he and Derain shared a studio. A crucial turning point in Vlaminck’s artistic development was a visit to a van Gogh exhibition in Paris in the following year. In 1902 the young painter met Henri Matisse, who encouraged him to exhibit at the “Salon des Indépendents”.  In 1905 Maurice Vlaminck had a group exhibition with Matisse, Derain, Friesz, Manguin and others at the “Salon d’automne”. The radically new colour scheme with large areas of pure colour inspired the critic Vauxelles to refer to the artists as the “Fauves”.

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

Catalogue No: 5980 Categories: ,

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.”

Galerie Drouant-David, Paris (1956);
Dalzell Hatfield Galleries, Los Angeles;
Perls Galleries, New York;
Private collection, New York (acquired from the above, 1983);
Sale:New York, 11 May 1995, lot 286;
Private Collection, California (acquired at the above sale)

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Literature:

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
Institue.

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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