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拍品专文
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.
In the summer of 1905, Vlaminck’s finances did not allow him to join Derain in Collioure, where he was working with Matisse. Unlike the other Fauves therefore it was by working purely in the region around Paris that Vlaminck achieved his own breakthrough in the use of colour, and Vlaminck’s landscapes painted in and around Rueil, Bougival and Chatou between 1905 and 1907 are now a key part of the history of the Fauve movement.
Executed during this period, Paysage, vue prise du Rueil, depicts a recurring theme for Vlaminck, a field stretching towards the horizon. The subject matter shows Vlaminck’s debt to Van Gogh, also seen in the swirling strokes of ink in the sky and the highly expressive treatment of the fields in the foreground.
In the summer of 1905, Vlaminck’s finances did not allow him to join Derain in Collioure, where he was working with Matisse. Unlike the other Fauves therefore it was by working purely in the region around Paris that Vlaminck achieved his own breakthrough in the use of colour, and Vlaminck’s landscapes painted in and around Rueil, Bougival and Chatou between 1905 and 1907 are now a key part of the history of the Fauve movement.
Executed during this period, Paysage, vue prise du Rueil, depicts a recurring theme for Vlaminck, a field stretching towards the horizon. The subject matter shows Vlaminck’s debt to Van Gogh, also seen in the swirling strokes of ink in the sky and the highly expressive treatment of the fields in the foreground.