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MAURICE DE VLAMINCK (1876-1958)
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À propos de l'objet

MAURICE DE VLAMINCK (1876-1958)\n\nLe grand vase de fleurs\n\nsigned bottom left 'Vlaminck'--oil on canvas\n40 x 20 1/2 in. (101.5 x 52 cm.)\nPainted in 1907
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NY, US
US

notes

Le grand vase de fleurs was painted in 1907, the year that Vlaminck was crowned "the wildest of the fauves" at his first solo exhibition at Vollard's gallery. Until the previous year, Vlaminck had painted only sporadically because of the need to support himself with other endeavors. In 1906, Vollard purchased the entire stock of Vlaminck's studio which allowed the artist to devote himself exclusively to painting and between 1906 and 1907 his output greatly increased.

The canvases of these years fall into two quite distinct groups: the earlier ones involve patches or stabs of color as well as pointillist passages, and the later works which are more solidly constructed and exhibits a greater sense of formal composition. This work is a fine example of the latter progression. The spontaneous energy of Vlaminck's Fauvism is harnessed by a more disciplined approach to structure but without losing any of the rich drama that characterized his first Fauve works. The same fusion of force (expressed mostly with color) and an expanded sense of mass is obvious in works by Matisse at this time, which is not a coincidence. Among the Fauves the influence of Signac and Seurat was being replaced by an appreciation for the visual revolution that Cézanne started. By late 1906 Vlaminck, Matisse and Derain were all integrating into their work Cézanne's creation of space through color applied with parallel or slanting strokes and closely valued hues.

Vlaminck rarely painted still lifes during his Fauve years and this work is unique in scale and impact; Le grand vase de fleurs was certainly executed as an homage to Cézanne. The differences between the two artists however are as important as the similarities. In Vlaminck, as is evident with this work, a sense of personality is paramount, expressed not only with vivid clashes of color but a dramatic contrast between the vertical movement thrusting from bottom to top (particularized with the reds and oranges) and the languid weight of the blue and green leaves opposing this thrust and pointing unequivocally to the bottom of the canvas. Vlaminck achieves a strong sense of harmony and balance underscored with a current of tension as he courts chaos with the dissonance of clashing hues and the audacious reconstruction of space.

An important characteristic of Vlaminck's is the harsh

flatness--taken almost to the point of arbitrariness--of

his large, unmodulated planes...they create the illusion of

the solidity of their objects by a hardening and upbending

towards the edges (of the planes). Cézanne and the

cubists on the other hand created their objects with planes

which became less definite, hard and flat at their edges;

the centre of each plane in a painting by Cézanne is the

part that is most emphatic, and most definite of the form

of the object depicted. Not so Vlaminck's: hardening and

darkening in color at their edges their plastic power

lies less in an interaction between the angles of their

surfaces than in the tensions which gather along their

gesticulating margins. But if Vlaminck's planes lack

plastic density themselves; if their shapes are sometimes

determined more with regard for their function as units

of design than as agents of plastic definition, density is

recaptured by virtue of the quality of his pigment. (P. Heron,

M. de Vlaminck, London, 1947, n.p.)

title

MAURICE DE VLAMINCK (1876-1958)

medium

Signed bottom left 'Vlaminck'--oil on canvas

signed

Signed bottom left 'Vlaminck'--oil on canvas

dimensions

40 x 20 1/2 in. (101.5 x 52 cm.)

provenance

D.H. Kahnweiler, Paris (acquired from the artist)

Anon. sale; Sotheby Parke Bernet & Co., London, April 7, 1976, lot 68

(illustrated in color)

Perls Galleries, New York

Acquired by the present owner in 1980


*Merci de noter que le prix n'est pas recalculé à la valeur actuelle, mais se rapporte au prix final réel au moment où l'objet a été vendu.

*Merci de noter que le prix n'est pas recalculé à la valeur actuelle, mais se rapporte au prix final réel au moment où l'objet a été vendu.


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