Maurice de Vlaminck was born April 4, 1876 in Paris, France. His parents were both talented Bohemian musicians. At 18 Vlaminck roamed around the countryside and served in the army in which he played cymbals in a regimental band. Vlaminck was married at 2
Maurice de Vlaminck was born April 4, 1876 in Paris, France. His parents were both talented Bohemian musicians. At 18 Vlaminck roamed around the countryside and served in the army in which he played cymbals in a regimental band. Vlaminck was married at 25 to Suzanne Berly in 1894 and had two children. To support his family he wrote novels, worked as a musician, and was also a bicyclist.
Sometimes he even posed as a gypsy so he could support his family. Vlaminck did not believe in art training, he taught himself. He also did not depend on painting to support his family. He thought of it as more of a hobby. Two of Vlaminck's friends were Matisse and Derain. These two men were also artists and the leaders of Fauvism; together the three were the main leaders of Fauvism. Matisse and Derain were more serious about painting than Vlaminck who is known not to have taken his painting career seriously. Vlaminck looked up to Van Gogh as an artist and used his broad brushstrokes and color palette of oranges, reds, and yellows. Vlaminck also spread oil paint on canvas directly from the tube to let the colors fully stand out just like Van Gogh. During Vlaminck's lifetime he painted over a hundred works and of even though he took his painting career lightly, still came out as one of the great artists of
Fauvism. Maurice de Vlaminck died of old age on October 11, 1958 at age 82.
Born in Paris in April 1876, his Father was Flemish (indeed the original name De Wlaminck is the Flemish word meaning Flemish) and his mother was from Lorraine; both were musicians. They settled in the western Parisian suburb of Le Vésinet in 1879. Records show that Maurice was married by 1894 and had many children. He did his military service from 1896-1899 and afterwards earned money by giving music lessons and as a professional violinist for the Théâtre du Chateau d’Eau. Working also as a courier on his bicycle, he cut a bohemian figure, with robust gypsy looks and an unconventional outlook.
Maurice de Vlaminck was never trained as an artist, except for some early advice on drawing from Robichon, who was a member of the Société des Artistes Français and from Henri Rigal, with whom he worked on the Eyot of Chatou on the Seine and at Pont de Chatou. He learned most by looking at the work of other contemporary artists, making visits to the art galleries in the rue Laffitte. He liked the Impressionists and in 1900 he met Monet. Most influentially, though, he became a friend of André Dérain, with whom he rented a dilapidated studio on the Eyot of Chatou, near Le Vésinet, where they became the only members of the self-styled, two-member Ecole de Chatou. They spent their time together studying, painting, discussing and developing various theories. Living and working on the banks of the Seine, lazing about in rowing boats and yachts, most of Vlaminck’s subjects from 1900-1904 reflect the harmless profligacy of the easy life. Together with Dérain he visited the van Gogh Exhibition in 1901. It proved a turning point and Vlaminck was profoundly impressed by the freedom in van Gogh’s style and his use of pure colour.
Vlaminck suffered what he considered to be a personal betrayal when his soulmate Dérain, four years younger, abandoned their clique and enrolled at the Académie to learn the basics of his craft. It was Vlaminck, though, who was to take the art world by storm. He exhibited in the Galerie Berthe Weill in Paris in 1904, he met Matisse and others of his circle, and in 1905 he showed at the Salon des Indépendants. Most important, later that year his work was included in the famous cage aux fauves at the Salon d’Automne in the company of Matisse, Marquet, Dérain, Rouault, Manguin, Camoin, Puy and Friesz. After that he never really stuck with one particular salon, preferring to exhibit groups of paintings in different galleries. His first full-scale public exhibition was with Vollard in 1906, after which Vollard purchased everything in Vlaminck’s studio.
During the few years when he, as others among the Fauves used pure colour (that is using the paint exactly as it came out of the tube), the artist rejected on principle the study of the chemistry of colour and its correct use. This carefree approach, combined with Vlaminck’s slender means which kept him from buying the best quality paints (indeed it seems he bought the cheapest available until about 1912) has meant that the canvases from this era have not withstood the test of time.
Increasingly between 1908 and 1914, Vlaminck abandoned the use of pure colour and alongside his friends André Dérain and Othon Friesz, based his work on the teachings of Cézanne. Vlaminck was clearly overwhelmed by the intensity of Cézanne’s brushwork and attention to light. Vlaminck has adopted the strong blues and greens of Cézanne’s palette and his signature diagonal brushstrokes, while employing bold, Fauve elements typical of earlier works. His construction of volume and space bordered on cubism, though he denounced the Cubist approach as over-intellectual and sterile.
His style, now fully developed, remained constant for much of the rest of his life. It owes much to Expressionism but is as individual a style as this rugged revolutionary could make it. He loved crowds, popular amusements and speed, being fascinated by its effect on vision. He concentrated on landscapes of stormy weather with dark shadows, strong light effects and wild skies. His technique of slashing brush strokes and heavy impasto recall Courbet, with whom his work is often compared. He also painted town scenes, interiors, still lifes, portraits and nudes.
Some of Vlaminck’s best works are in watercolour and gouache, and he was a fine draughtsman, lithographer as well as wood engraver. He illustrated a number of books with pen and ink drawings, (now rarely found), among them Le diable au corps by Raymond Radiguet, Les Hommes abandonnés by Georges Duhamel, En suivant la Seine by Gustave Coquiot, Mont-Cinère by Julien Green, Grasse Normandie by G Reuillard, and Voyages by Vanderpyl. He also illustrated many of his own novels, poems and essays, among them Histoires et Poèmes de mon époque, Communications and Tournant dangereux.
In 1919 he exhibited at Druet and later was represented in a number of Exhibitions devoted to Fauvism. Notable among these: in 1951 and 1957 at the Musée Nationale d’Art Moderne de Paris, in 1952-53 at the Museum of Modern Art in New York and in 1962 at the Galerie Charpentier in Paris. The Museum of Fine Arts in Chartres held an exhibition of his work in 1987. He also showed his work in Brussels and in 1955 Vlaminck was honoured by his family’s country of origin with his election as a member of the Royal Academy of Belgium.
Museums: Antwerp, Avignon, Belgrade, Berlin, Brussels, Chartres, Chicago, Epinal, Grenoble, Le Havre, London (Tate Gallery), Munich, Nantes, New York (Museum of Modern Art), Ottowa, Paris (Musée Nationale d’Art Moderne, Musée du Petit Palais, Bibliothèque Nationale), St Tropez, Stuttgart, Tokyo, Troyes, Washington DC (National Gallery). In: http://www.artnet.com/artist/17289/maurice-de-vlaminck.html
Born in Paris into a Dutch family of music teachers, Vlaminck started out as a bicycle racer. Forced to abandon professional racing, he started giving music lessons. Friends with Derain, Vlaminck took part in the first Fauve exhibition in 1905. Cubism attracted the artist who did not, however, limit his activities to painting. Vlaminck was also a race car driver!
An artist “on the fringe” during his time, his participation in various avant-garde Salons did not prevent Vlaminck from remaining rather traditional; landscapes were his favorite subjects, and sometimes included a hint of expressionism.
Critics usually classify Vlaminck’s work into three major categories: Fauvism, to which he contributed violently, his Cézanne period and finally his expressionist work, often somewhat murky and obstructed; as if this huge anti-intellectual instinctive artist decided to concentrate on the nature scenes that he first saw on the Pont de Chatou.
Vlaminck, the “wildest beast” of all the Fauves, flew the coop in order to paint landscapes where dark, ominous hues prevailed.
Vlaminck, Maurice de (1876-1958), French Fauvist painter, born in Paris. Before becoming an artist, he was a racing cyclist and earned his living as a violinist. He was largely self-taught, and attacked the precepts of academic painting; he once boasted that he had never been inside the Louvre. For a brief period after 1900 he shared a studio with his friend André Derain; together they were part of the group that exhibited at the Salon d'Automne in 1905 and became known as the Fauves (“wild beasts”). Vlaminck's work was greatly influenced by the colours and brushwork of Vincent van Gogh, a retrospective of whose work had been shown in Paris in 1901. Painted in pure, intense pigments, Vlaminck's Fauvist works such as Red Trees (1906, Museé National d'Art Moderne, Paris) provide brilliant colour contrasts. After the decline of Fauvism, in 1908, however, his work—primarily landscapes—became more subdued in colour and composition. Typical of these are The Painter's House at Valmondois (1920, Musée National d'Art Moderne) and The Village Road (1935, Arthur Macrae Collection, London). He also wrote several novels.
Maurice de Vlaminck was born in 1876 in Paris to parents who were bohemian musicians. As an adolescent, Vlaminck planned to make a career as a professional cyclist. Like his parents, he also had musical talent and earned a living through the violin. Maurice de Vlaminck also had a passionate interest in painting which was fostered by Robichon, a French artist. In 1896 he contracted typhoid fever which ended his racing career. Obliged to support himself and his family, he gave violin lessons and eventually joined the military. It was during one of his military leaves at Chatou, that he met Andre Derain. In June 1900, Maurice de Vlaminck and Andre Derain began the school of Chatou which later came to be recognized as the place of origin for the Fauve art movement. In the ensuing years, he met and was influenced by Henri Matisse, who inspired him to collect African masks, and Pablo Picasso. As a member of the Fauvist movement, which flourished from 1905 to 1908, he exhibited with them at the Salon des Independants and d'Automne. He also published a few novels and books of poetry for which Derain made illustrations. Vlaminck not only painted but created a great number of woodcut prints. Many of these image reveal the strong influence of Gauguin and Van Gogh who were then his contemporaries. In painting, Vlaminck adopted Vincent Van Gogh's brightly coloured palette, along with the technique of painting with open brushstrokes. This eventually led to his application of paint directly onto the canvas from the tube. Maurice de Vlaminck's early body of work epitomizes the Fauve revolution. Around 1908, Vlaminck grew dissatisfied withwhat he saw as the formlessness of his early style. He turned his attention to the work of Paul Cézanne and adopted a darker palette, painting many landscapes rendered in a personal expressionist style. In 1920, he turned to a more naturalistic and formally vigorous style. His late work is dominated by colorful and brooding still lifes and landscapes. Despite his departure from the Fauvist style, Vlaminck continued to travel with Derain during the later years of his life and published dozens of autobiographical accounts of his life and his experiences with other artists. Maurice de Vlaminck died in 1958.