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拍品專文
Maïthé Vallès-Bled and Godeliève de Vlaminck will include this painting in their forthcoming Maurice de Vlaminck catalogue critique currently being prepared under the sponsorship of the Wildenstein Institute.
Along with Henri Matisse and André Derain, Vlaminck was one of the principal leaders of artistic development in the early 20th century in the establishment of Fauvism. Befitting his bold compositions, Vlaminck practiced a tube-to-canvas technique that created paintings full of brash color in distinct, unblended brushstrokes. His works of this period were inspired in particular by Vincent Van Gogh, but Vlaminck tended even further, assaulting the viewer with explosions of color.
In 1908, under the influence of Paul Cézanne's posthumous retrospective of 1907 which spurred many young artists of the time to experiment, Vlaminck began to move away from Fauvism. While many, including Pablo Picasso, Georges Braque and Juan Gris, converted to Cubism, Vlaminck vehemently opposed the movement and instead took his own path, concentrating on color and composition with a certain realism. Paysage reflects this pre-War transition. The distinct focus on shapes and the strong lines reflect Cézanne's influence, while Vlaminck was particularly conscious of compositional tools like the trees in the foreground used to frame the water and village across the way. The bright whites of the water, houses and sky, the reds of the rooftops, and the deep blue along the flowing river further accentuate the artist's emphasis on color.
Along with Henri Matisse and André Derain, Vlaminck was one of the principal leaders of artistic development in the early 20th century in the establishment of Fauvism. Befitting his bold compositions, Vlaminck practiced a tube-to-canvas technique that created paintings full of brash color in distinct, unblended brushstrokes. His works of this period were inspired in particular by Vincent Van Gogh, but Vlaminck tended even further, assaulting the viewer with explosions of color.
In 1908, under the influence of Paul Cézanne's posthumous retrospective of 1907 which spurred many young artists of the time to experiment, Vlaminck began to move away from Fauvism. While many, including Pablo Picasso, Georges Braque and Juan Gris, converted to Cubism, Vlaminck vehemently opposed the movement and instead took his own path, concentrating on color and composition with a certain realism. Paysage reflects this pre-War transition. The distinct focus on shapes and the strong lines reflect Cézanne's influence, while Vlaminck was particularly conscious of compositional tools like the trees in the foreground used to frame the water and village across the way. The bright whites of the water, houses and sky, the reds of the rooftops, and the deep blue along the flowing river further accentuate the artist's emphasis on color.