Au Bordel

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”.

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.

1906

Ambroise Vollard buys his paintings

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

1907

First solo exhibition at Vollard's

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

1908

Turning to Cézanne

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

1914–1918

The First World War: service in Paris and first poems

During the First World War Vlaminck was stationed in Paris, working as a draughtsman at a defence plant, and began writing poetry.