Vlaminck, Maurice de, Le village d'Hérouville (Hérouville Village)
Signé Maurice de Vlaminck, Aquatinte, Le village d'Hérouville (Hérouville Village)
|Artiste:||Vlaminck, Maurice de (1876 - 1958)|
|Titre:||Le village d'Hérouville (Hérouville Village)|
|Taille d'image:||18.8 in x 23.7 in (48 cm x 60.3 cm)|
|Taille encadrée:||40 3/4 in x 36 3/4 in (103.51 cm x 93.35 cm)|
|Signé:||In addition the work is signed in pencil by the artist Maurice de Vlaminck in the lower right margin|
|Edition:||Numbered 22/200 in pencil in the lower left|
|Condition:||This work is in excellent condition, the colors are brilliantly bold and rich|
|Vendu. Please visit the rest of our Vlaminck fine art collection|
This rare signed image offers a vivid impression of a remote village and displays Vlaminck’s unique handling of form and volume. It is really a large and dramatically magical work and depicts a warm and classical impressionist landscape.
Produced in c. 1924, this work is an aquatint adopted by Jacques Villon from an original work by Vlaminck. The piece was edited by Bernheim-Jeune and printed by Jacques Villon in a small black and white edition as well as the color edition of 200. Examples of this image were displayed at the Galerie Bernheim-Jeune in 1928 as well as at the Musée Rath, Genève 1955.
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. Its rich color cannot be overlooked as it is the major vehicle driving this landscape, allowing its intensity and emotion to be felt by its viewers. The eye is invited to explore the small village depicted in the background by taking the unpaved road that extends 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.
Private collection, Germany
Catalogue Raisonné & COA:
1) Ginestet, Collette and Pouillon, Catherine, Jacques Villon: Les Etampes et Les Illustrations, 1979, listed on page 396 and 397 as plate 638.
2) de Walterskirchen, Katalin, Maurice de Vlaminck Catalogue raisonné de l’oeuvre grave, 1974, listed on page 254 as no. 2.
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.