Maurice de Vlaminck (1876-1958) La pêche au chevesne 35 x 46 1/2 in (89 x 118 cm)  (Painted in 1916)
Lot 14
Maurice de Vlaminck
(1876-1958)
La pêche au chevesne 35 x 46 1/2 in (89 x 118 cm)
Sold for US$ 100,000 inc. premium

Impressionist & Modern Art

15 May 2018, 17:00 EDT

New York

Lot Details
Maurice de Vlaminck (1876-1958)
La pêche au chevesne
signed 'Vlaminck' (lower left)
oil on canvas
35 x 46 1/2 in (89 x 118 cm)
Painted in 1916

Footnotes

  • Provenance
    Galerie Bernheim-Jeune, Paris (acquired circa 1920).
    Bergman Collection, Dresden (acquired from the above).
    Thence by descent.

    Exhibited
    Paris, Grand Palais des Champs Elysées, Société des Artistes Indépendants, 28 January - 29 February 1920, no. 4577.

    Literature
    F. Carco, Maurice de Vlaminck, Paris, 1920, n. n. (illustrated p. 49).
    R. Schneider, L'art Français. XIXème et XXème siècles du réalisme à notre temps, Paris, 1930, no. 103 (illustrated p. 178).

    This work will be included in the forthcoming Maurice de Vlaminck Digital Critical Catalogue, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

    Maurice de Vlaminck gained notoriety in 1905 when he debuted his radical painting techniques alongside Matisse, Braque and Derain at the Salon d'Automne. Characterized by his unabashed use of exuberant color and wildly expressive brushwork, Vlaminck was labeled "the wildest of the Fauves." Two years later, in 1907, Vlaminck saw a retrospective exhibition of Cézanne's work that changed the course of his career. The exhibition at the Salon d'Automne in Paris was the catalyst that inspired the evolution of Vlaminck's style, and he soon abandoned the excesses of his Fauve years in favor of a more subdued approach strongly influenced by Paul Cézanne.

    Painted in 1916, Vlaminck's La Pêche au chevesne exemplifies the softened colors and emboldened brushwork that characterized the 'Cézannesque' style that dominated his mature oeuvre. Cézanne was a major source of inspiration for many twentieth-century artists due to his influence on the development of Cubism, and his influence on Vlaminck's production cannot be understated. Inspired by Cézanne's signature diagonal brushstrokes, implemented to create movement and unification of the landscape, Vlaminck transitioned from Fauvism toward a pictorial field dominated by a geometric landscape.

    Vlaminck's 'Cézannesque' work distinguished by his new concern with issues of spatial construction was discussed by the renowned art historian and author Jean Selz who noted, "Vlaminck undoubtedly found within these new principles of construction – whose general architectural composition more fundamentally links the artist's refined sensitivity to color and the energy of the forms themselves – a potent means of expression. The angular planes, striking contrasts of light and shade and introduction of more somber tones all contribute to the harmony of Vlaminck's canvas, permitting the artist to transpose his predilection for vivid, riotous colors to that of mastering form." (Jean Selz, Vlaminck, Lungano, 1965, p. 64).

    Cézanne's legacy permeates the composition of La Pêche au chevesne and his influence can be found in the diagonally hatched foliage of the trees and the sharp geometric red houses. Vlaminck's newfound consideration for composition and structure is further enhanced by the contrasted black contours between forms in this vivid interpretation of nature.
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