The Blue House, Maurice de Vlaminck, 1906
Maurice de Vlaminck, portrætMaurice de VlaminckFrankrig, 1876–1958

The Blue House

1906 · Painting

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Om maleriet

Of the three founders of the Fauve movement (the other two being Henri Matisse and André Derain), Vlaminck was certainly the most flamboyant. Rough and muscular, his career path (professional bicycle racer, gypsy violinist, and pulp novelist) had been as unorthodox as his approach to art. Taking van Gogh as his inspiration, Vlaminck squeezed brilliant colors out of tubes directly onto the canvas. This sensitivity to the physical qualities of paint and a love of the landscape are typical of the artist's paintings from this period.

Minneapolis Institute of Art

Oplysninger

Inventarnummer
61.36.17

I kataloget

Kilder

Imens i livet hos Maurice de Vlaminck

Hele livet
  1. 1904

    A painting at Berthe Weill's gallery

    In 1904 one of Vlaminck's paintings found its way into Berthe Weill's gallery.

  2. 1905

    Experiments with “deconstruction”

    In 1905 Vlaminck began to experiment with “deconstruction”, turning the physical world into dabs and streaks of colour that convey a sense of motion, as in “The Chatou Bridge”, “The Potato Pickers”, “The River Seine at Chatou” and “The Orchard”.

  3. 1905

    The Salon d'Automne: the birth of the “Fauves”

    In October 1905 Vlaminck exhibited at the controversial Salon d'Automne alongside Matisse, Derain, Marquet, Manguin, van Dongen, Camoin and Puy. Seeing their boldly coloured canvases, the critic Louis Vauxcelles disparaged the painters as “fauves” (wild beasts), and the name stuck to the movement.

  4. 1906

    Ambroise Vollard buys his paintings

    In 1906 the Paris dealer Ambroise Vollard began buying Vlaminck's paintings.

  5. 1907

    First solo exhibition at Vollard's

    In 1907 Vlaminck held his first exhibition at Ambroise Vollard's gallery.

  6. 1908

    Turning to Cézanne

    From 1908 Vlaminck's palette grew deeper and richer, and the predominant influence became that of Cézanne.

Alle værker

I samme sal · G367, Minneapolis Institute of Art

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