Maurice de Vlaminck

Maurice de Vlaminck (1876-1958) initially earned a living as a violinist, music teacher and professional cyclist.
Around 1893 he started to paint in a local artists studio. A chance meeting with Andr Derain on a train in 1900
inspired him and profoundly changed his life. Vlaminck and Derain became good friends and shared a studio in
1900-1. Both artists were extremely impressed with Van Goghs powerful brushstrokes and intense colours during
a visit to an exhibition of the painters work at the Galerie Bernheim-Jeune in 1901; both would subsequently
experiment with Van Goghs expressive brushstrokes and use of separate daubs of paint to suggest movement.
Vlaminck exhibited work alongside Matisse, Derain and other artists at the 1905 Salon dAutomne. Vlamincks
forceful use of colour and daring compositions made this virtually self-taught painter one of the leading figures in
the Fauve movement. His work was soon discovered and bought by well-known art dealers such as Ambroise
Vollard and Daniel-Henry Kahnweiler. From 1907, however, his Fauve colours were replaced by a more tempered
palette. A retrospective exhibition of Czannes work in 1907 had a great influence on Vlaminck and inspired him
to introduce more structure and order into his landscapes.
During the First World War the painter worked in a factory and began to write poetry. After the war he moved to
the northwest of Paris and painted mainly rural scenes. Vlaminck was a versatile artist: in addition to paintings,
prints and poems he produced ceramics and book illustrations and wrote his memoirs. He was also one of the
first collectors of the African art which would exert such a great influence on developments in painting, in
particular Cubism.

Maurice de Vlaminck, Runion des Muses Nationaux

Maurice de Vlaminck
1876-1958
Maurice de Vlaminck (4 April 1876 11 October 1958) was a French painter. Along with Andr
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.[1]
Maurice de Vlaminck was born in Paris to a family of musicians. His father taught him to play the
violin.[2] He began painting in his late teens. In 1893, he studied with a painter named Henri
Rigalon on the Ile de Chatou.[3] In 1894 he married Suzanne Berly. The turning point in his life
was a chance meeting on the train to Paris towards the end of his stint in the army. Vlaminck, then
23, met an aspiring artist, Andr Derain, with whom he struck up a life-long friendship.[2] When
Vlaminck completed his army service in 1900, the two rented a studio together for a year before
Derain left to do his own military service.[2] In 1902 and 1903 he wrote several mildly
pornographic novels illustrated by Derain.[4] He painted during the day and earned his livelihood
by giving violin lessons and performing with musical bands at night.[2]
In 1911, Vlaminck traveled to London and painted by the Thames. In 1913, he painted again with
Derain in Marseille and Martigues. In World War I he was stationed in Paris, and began writing
poetry. Eventually he settled in the northwestern suburbs of Paris. He married his second wife,
Berthe Combes, with whom he had two daughters. From 1925 he traveled throughout France, but
continued to paint primarily along the Seine, near Paris.
Vlaminck died in Rueil-la-Gadelire on 11 October 1958. [edit] Artistic career Portrait du pote
(Guillaume Apollinaire) 1903
Two of Vlaminck's groundbreaking paintings, Sur le zinc (At the Bar) and L'homme a la pipe (Man
Smoking a Pipe) were painted in 1900.[2]
For the next few years Vlaminck lived in or near Chatou (the inspiration for his painting houses at
Chatou), painting and exhibiting alongside Derain, Matisse, and other Fauvist painters. At this time
his exuberant paint application and vibrant use of color displayed the influence of Vincent van
Gogh. Sur le zinc called to mind the work of Toulouse-Lautrec and his portrayals of prostitutes and
solitary drinkers, but does not attempt to probe the sitter's psychologya break with the centuryold European tradition of individualized portraiture.[2] According to art critic Souren Melikian, it is
"the impersonal cartoon of a type."[2] In his landscape paintings, his approach was similar. He
ignored the details, with the landscape becoming a mere excuse to express mood through violent
color and brushwork.[2] An example is Sous bois, painted in 1904. The following year, he began to
experiment with "deconstruction," turning the physical world into dabs and streaks of color that
convey a sense of motion.[2] His paintings Le Pont de Chatou (The Chatou Bridge), Les
Ramasseurs de pommes de terre (The Potato Pickers), La Seine a Chatou (The River Seine at
Chatou) and Le Verger (The Orchard) exemplify this trend.[2]

Village view with

one figure
25.000-50.000
Maurice de Vlaminck
30.00cm x 40.00cm

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Village view
75.000-100.000
Maurice de Vlaminck
24.00cm x 33.00cm

More info