Maurice de Vlaminck (1876-1958) - photo 1
Maurice de Vlaminck (1876-1958) - photo 2
Maurice de Vlaminck (1876-1958) - photo 3
Maurice de Vlaminck (1876-1958) - photo 4
Maurice de Vlaminck (1876-1958) - photo 5

Maurice de Vlaminck (1876-1958)

Lot 128
05.04.2023 14:00UTC +01:00
Classic
Sold
€ 170 100
AuctioneerCHRISTIE'S
Event locationFrance, Paris
Archive
The auction is completed. No bids can be placed anymore.
Archive
ID 930360
Lot 128 | Maurice de Vlaminck (1876-1958)
Estimate value
€ 100 000 – 150 000
Maurice de Vlaminck (1876-1958)

Les Toits

signé 'Vlaminck' (en bas à gauche)

huile sur toile

64.9 x 81 cm.

Peint vers 1910



signed 'Vlaminck' (lower left)

oil on canvas

25 5/8 x 32 in.

Painted circa 1910





Provenance

Collection particulière, Anvers (vers les années 1920-30).

Puis par descendance au propriétaire actuel.



Special notice


Artist's Resale Right ("droit de Suite").
If the Artist's Resale Right Regulations 2006 apply to this lot, the buyer also agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.



Post lot text

Si Maurice de Vlaminck fut en 1905 l’un des pionniers du fauvisme, aux côtés d’Henri Matisse et d’André Derain, à partir de 1907-08, il décide de prendre ses distances avec le mouvement. « Le jeu de la couleur pure, orchestration outrancière dans laquelle je m’étais jeté à corps perdu, ne me contentait plus. Je soufrais de ne pouvoir frapper plus fort, d’être arrivé au maximum d’intensité, limité que je demeurais par le bleu et le rouge du marchands de couleurs » (cité in M. Giry, Dans le fauvisme, ses origines, son évolution, Neuchâtel, 1981, p. 222).
Renonçant à la couleur pure, l’artiste explore ainsi de nouveaux principes de construction et étudie attentivement les volumes, la structure des formes et les perspectives. Commence alors sa période dite Cézannienne. En effet, les deux salles entières consacrées à Paul Cézanne au Salon d’Automne de 1907 ont certainement dû avoir un puissant impact sur le travail de Vlaminck. La palette de l’artiste devient alors plus modérée bien qu’encore vive, et l’influence du cubisme commence à apparaître dans ses toiles.
Dans la présente œuvre, le cadrage audacieux de cette vue imposante laisse apparaître avec de larges aplats une géométrisation nouvelle du paysage. La construction cubisante du village, se dessine ainsi – mais en douceur - au moyen de grandes touches lumineuses et franches, retranscrivant ainsi l’hésitation de l’artiste à embrasser pleinement ce mouvement qu’il juge trop en négation avec la réalité de la nature. Certains de ses contemporains le renommeront d’ailleurs « le cubiste timide pour maisons seulement ».
Cette volonté de fidélité à la nature provient aussi de l’attachement profond de l’artiste à la campagne. Largement dominé par ce sujet, son œuvre exploite en abondance les paysages, vues de villages et bords de routes autour de Paris, de Chatou et Rueil. Même si sa précarité financière l’empêche de quitter la région, à l’inverse des autres artistes de son temps alors regroupés dans le midi, c’est cette nature, sa réelle source d’inspiration, qu’il représente transcendée dans le présent tableau. Il lui rend d’ailleurs hommage dans sa première publication autobiographique, Tournant dangereux, publiée à Paris en 1929 : « C’est à la bicyclette que je dois mes premiers étonnements de la vie au grand air, mes premiers ravissements, mes premières sensations d’espace et de liberté. Avec elle je vis pour la première fois toute la vallée de la Seine, depuis Chatou jusqu’au Havre, Mantes, Bonnières, Rouen, Duclair, Tancarville. […] Mes plus fortes émotions viennent de ces journées passées sur les grandes routes, sur le haut des coteaux où la vue plongeait dans la vallée, s’arrêtait sur le toit des maisons que l’on croyait pouvoir atteindre de la main. […] et il me prit la tentation de peindre » (p. 40-41).

Despite being one of the pioneers of Fauvism in 1905, alongside Henri Matisse and André Derain, from 1907 Maurice de Vlaminck took the decision to distance himself from the movement. “The game of pure colour, the outrageous arrangements into which I threw myself bodily no longer satisfed me. I sufered from a lack of real clout, from the sense of having arrived at the limit of maximum intensity, confned by the strength of the paint dealers’ tubes of blue and red” (quoted in M. Giry, Dans le fauvisme, ses origines, son évolution, Neuchâtel, 1981, p. 222).
Renoucing pure colour, the artist set out to explore new ideals of composition, the careful study of volume, the structure of shapes and perspectives. Thus began his so-called Cézannien period. No doubt the two entire rooms dedicated to Paul Cézanne at the Salon d’Automne in 1907 had a strong influence on Vlaminck’s work. Although still lively, his palette became more restrained, and the influence of Cubism began to make its appearance in his canvases.
In the present work, the daring framing of this imposing viewpoint allows the geometric structure of the landscape to appear via the use of broad fat surfaces. The cubist construction of the village, is built up – somewhat conscientiously - via the application of thick strokes of pure and luminous colour. One senses the hesitation the artist felt at fully embracing the new movement which he nevertheless felt was too at odds with nature. Indeed, several of his contemporaries gave Vlaminck the nickname ”the reluctant cubist, for houses only”.
This willingness to remain true to nature also stemmed from the artist’s deep connection with the countryside. Dominated to a great degree by landscape, his work focused in depth on portrayals of the villages and roadsides around Paris, Chatou and Rueil. Although fnancial insecurity prevented him from travelling further afeld - in contrast to other artists of his generation who resettled in Provence – it was this nature, his true source of inspiration, which he chose to portray, transformed, in the present oil. He would acknowledge this experience in his first autobiography Tournant dangereux, published in Paris in 1929 : ”It is to the bicycle that I owe my life of the great outdoors, my frst elations, my first sense of space and freedom. Thanks to it I have discovered the valley of the Seine, from Chatou to Le Havre, Mantes, Bonnières, Rouen, Duclair, Tancarville. […] My strongest emotions were experienced during those days on the road, from high up on the hillside with the view plunging down to the valley, plunging on the roofs of the houses which seemed almost within arms’ reach. […] and which inspired me to paint” (p. 40-41).
Artist:Maurice de Vlaminck (1876 - 1958)
Applied technique:Oil on canvas
Auction house category:Paintings
Address of auction CHRISTIE'S
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