211
211

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

Maurice de Vlaminck
VOILIERS SUR LA MARNE
Estimate
400,000600,000
JUMP TO LOT
211

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

Maurice de Vlaminck
VOILIERS SUR LA MARNE
Estimate
400,000600,000
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Day Sale

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New York

Maurice de Vlaminck
1876 - 1958
VOILIERS SUR LA MARNE
Signed Vlaminck (lower right); inscribed La Marne à Nogent. (on the reverse)
Oil on canvas
18 1/8 by 21 5/8 in.
46 by 55.5 cm
Painted circa 1908.
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This work will be included in the forthcoming catalogue raisonné being prepared by Maïthé Vallès-Bled and Godeliève de Vlaminck under the sponsorship of the Wildenstein Institute.

Provenance

Daniel-Henri Kahnweiler, Paris
Galerie Bellier, Paris
Dr. B. Noordhoff, Haren, The Netherlands
Sale: Christie's, New York, May 8, 2002, lot 291
Richard Green Fine Paintings, London (acquired at the above sale)
Acquired from the above

Exhibited

Roslyn, Nassau County Museum of Art, Long Island Collections, 2009, n.n.
Roslyn, Nassau County Museum of Art, The Sea Around Us, 2010, n.n. 
Roslyn, Nassau County Museum of Art, Long Island Collects Modern Art, 2015, n.n.

Catalogue Note

Maurice de Vlaminck was one of the principle figures of the radical Fauve movement which sought to champion painterly qualities and daring colors over representational values. The term was coined in 1905, when critic Louis Vauxcelles called the artists "wild beasts" for their progressive retaliation against traditional aesthetics. However, just two years later, Vlaminck was becoming increasingly dissatisfied with the coloristic exuberances of the movement he helped to found. In 1907, he attended an exhibition of Cézanne’s paintings at the Salon d’Automne which was to have a profound impact on the direction of his work.

That same year he returned to his hometown of Chatou, a suburb of Paris located on the Seine. Vlaminck had grown up an avid yachtsman and found subjects for his paintings in the bustling life on the river and along the river’s edge. The present work comes from a significant period after his return to Chatou and following his rediscovery of the work of the Provençal master—the mutual influences of which are strongly apparent in the composition. Sailing boats populate the water surface, poised and proud; one particular boat dominates the foreground, whose grand sail is boldly reflected in the river. In the strong vertical lines of the sails and trees, Vlaminck references Cézanne’s constructed compositions with clearly delineated planes. The palette, too, is highly evocative of Cézanne, with deep blues and greens. There is nevertheless a freedom in the handling that is reminiscent of the Vlaminck’s earlier Fauve work. Voiliers sur la Marne is therefore a beautiful example of a transitional period in the artist’s work, evoking the structured manner and colors of Cézanne, which had the effect of revitalizing him in 1907, while nevertheless maintaining the qualities of exuberance which sat at the very heart of Fauvism.

Impressionist & Modern Art Day Sale

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New York