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Lot Essay
Maïthé Vallès-Bled and Godeliève de Vlaminck will include this work in their forthcoming Maurice de Vlaminck catalogue critique currently being prepared under the sponsorship of the Wildenstein Institute.
Nature Morte comes from Vlaminck’s post-Fauvist period. Influenced by the pre-cubist principles he found in the work of Paul Cézanne, Vlaminck adopted a balanced, sense of composition, as seen here, in a calmer colour palette. Created in 1910, several years after the outburst of Fauvism (1904- 1907) that he explored with contemporaries Henri Matisse and André Derain, Nature morte has a less violently bright palette yet retains the saturated colour of the artist’s recent past, executed with a hand that has become more considered than impulsive. The underlying hatched ink drawing gives the painting a dynamic chiaroscuro which would become a characteristic of his later body of work, with the strong sapphire blue glowing amongst the warm surroundings of the table and basket, to delineate this charming, rustic composition.
Nature Morte comes from Vlaminck’s post-Fauvist period. Influenced by the pre-cubist principles he found in the work of Paul Cézanne, Vlaminck adopted a balanced, sense of composition, as seen here, in a calmer colour palette. Created in 1910, several years after the outburst of Fauvism (1904- 1907) that he explored with contemporaries Henri Matisse and André Derain, Nature morte has a less violently bright palette yet retains the saturated colour of the artist’s recent past, executed with a hand that has become more considered than impulsive. The underlying hatched ink drawing gives the painting a dynamic chiaroscuro which would become a characteristic of his later body of work, with the strong sapphire blue glowing amongst the warm surroundings of the table and basket, to delineate this charming, rustic composition.