Maurice De Vlaminck

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Maurice de Vlaminck (April 1876 – October 1958) was a French painter.

He is considered one of the leading figures in the Fauve movement, alongside André Derain and Henri Matisse, a group of young artists whose careers from 1904 to 1908 were united in their use of vivid colors.

At the 1905 Salon d'Automne Exhibition, Vlaminck was one of the Fauves.

Life

Maurice de Vlaminck was born on Rue Pierre Lescot in Paris. Edmond Julien was born in Lorraine and taught violin, and his mother Joséphine Grillet was born in Lorraine and taught piano. His father taught him how to play the violin. In his late teens, he began painting. On the Île de Chatou in 1893, he worked with a painter named Henri Rigalon. Suzanne Berly married him in 1894. A chance meeting on the train to Paris towards the end of his army service was turning point in his life. André Derain, a young artist who was active in Paris's anarchist circles, met Vlaminck, with whom he began a lifelong friendship. The two men rented the Maison Levanneur, which now houses the Cneai, for a year before Derain left to do his own military service after Vlaminck's army service in 1900. He wrote several mildly pornographic books illustrated by Derain in 1902 and 1903. He painted during the day and gained his fortune by teaching violin lessons and performing with musical bands at night.

Vlaminck was in the midst of a controversial 1905 Salon d'Automne Exhibition. The painters' vivid canvases of Vlaminck, André Derain, Albert Marquet, André Derain, Albert Marquet, Kees van Dongen, Charles Camoin, and Jean Puy were branded "fauves" by art critic Louis Vauxcelles, giving their movement the term by which it was first identified, Fauvism.

Vlaminck went to London and painted by the Thames in 1911. He painted again with Derain in Marseille and Martigues in 1913. He was stationed in Paris during the Great War and began writing poetry. He eventually settled in Rueil-la-Gadelière, a small village south-west of Paris. Berthe Combes, his second wife, with whom he had two children, was married. He painted in France from 1925 to Paris, but mainly along the Seine. Vlaminck blamed Picasso for dragging French painting into a wretched dead end and state of confusion, despite being surprised that Fauvism had been overtaken by Cubism as an art movement. Vlaminck died in Germany and on his return to publish a tirade against Picasso and Cubism in the periodical Comoedia in June 1942. Many autobiographies were written by Vlaminck.

Vlaminck died in Rueil-la-Gadelière on October 11, 1958.

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Artistic career

Sur le zinc (At the Bar) and L'homme a la pipe (Man Smoking a Pipe) were two of Vlaminck's most influential works, and they were both painted in 1900.

Vlaminck lived in or near Chatou for the next few years (the inspiration for his painting houses at Chatou) - painting and exhibiting alongside Derain, Matisse, and other Fauvist painters. Vincent van Gogh's exuberant paint job and vibrant use of color showed the same influence at this time. Sur le zinc brought to mind the work of Toulouse-Lautrec and his portrayals of prostitutes and sole drinkers, but did not attempt to investigate the sitter's psychology, which was a departure from the century-old European tradition of individualized portraiture. It is "the impersonal cartoon of a sort," according to art critic Souren Melikian. He took a similar approach in his landscape paintings. He ignored the finer details, with the landscape turning into a tool by which he could express emotion by violent color and brushwork. Sous bois, which was painted in 1904, is an example. He beganexperimenting with "deconstruction" in the following year, transforming the physical world into dabs and stripes of color that suggest motion. Le Pont de Chatou (The Chatou Bridge), Les Ramasseurs de terre (The Potato Pickers), La Seine a Chatou), and Le Verger (The Orchard) illustrate this trend.

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