Vlaminck, Maurice de, Maisons dans un paysage (Houses in a Landscape)
Signé Maurice de Vlaminck, Unique Aquarelle, Maisons dans un paysage (Houses in a Landscape)
|Artiste:||Vlaminck, Maurice de (1876 - 1958)|
|Titre:||Maisons dans un paysage (Houses in a Landscape)|
|Taille d'image:||17 1/4 in x 13 1/2 in (43.82 cm x 34.29 cm)|
|Taille de feuille:||25 in x 19 3/4 in (63.5 cm x 50.12 cm)|
|Taille encadrée:||36 1/2 in x 32 1/2 in (92.71 cm x 82.55 cm)|
|Signé:||Hand-signed by Maurice de Vlaminck (1875 - 1963) i|
|Edition:||Unique, original watercolor|
|Condition:||This work is in very good condition|
|Vendu. Please visit the rest of our Vlaminck fine art collection|
This unique watercolor has been hand-signed by Vlaminck in the lower left. Maithé Vallès-Bled and Godelieve de Vlaminck will include this work in their forthcoming Vlaminck catalogue raisonné currently being prepared under the sponsorship of the Wildenstein Institute.
Through the use of variegated color and form, the artist creates a pastoral image which captures the transient beauty of nature. The intensity of Vlaminck's stroke gives the piece a sense of depth while his rendering of form infuses the landscape with robust energy seen throughout the composition in greens, blues, and teals. The eye is invited to explore the small row of homes depicted along the horizon line by venturing across the rolling hills that extend before us, adding an illusion of depth and proving to be a true window into another world. In striking contrast to the works of Masson, Braque, Picasso and Leger, Vlaminck offers to his audience, subtle and relaxing imagery that remains intrinsically bucolic and reminiscent of the French countryside. This rare, signed image offers a vivid impression of a remote village and displays Vlaminck's unique handling of form and volume. It is truly a large and dramatic work, depicting a warm and classical impressionist landscape.
Catalogue Raisonné & COA:
1. A Wildenstein Institute for Art Research & Development Photo-Certificate of Authenticity accompanies this work along with a confirmation letter from Maithé Vallès-Bled and Godelieve de Vlaminck stating its inclusion within the Vlaminck catalogue raisonné.
2. A Masterworks Fine Art, Inc. Certificate of Authenticity will accompany the work.
About the Framing:
|Style:||Fauvism, 20th Century Modern Master Fauvist|
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La biographie de Maurice de Vlaminck
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.