Maurice de Vlaminck

Private Collection, France since 1958
Sale Sotheby's London, 27 June 2001, lot 239
Acquired from the above by the present owner 

 

Colours: The colours in the catalogue illustration are fairly accurate, although the overal tonality is more softer. Condition: This work is in good condition. There are some minor hairline tension cracks in the sky area. Examination under ultra-violet light reveals several small touches of professional retouching filled in the hairline cracks.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Of all Fauvist painters, Maurice de Vlaminck was probably closest to Vincent van Gogh in spirit. De Vlaminck first discovered Van Gogh in an exhibition of the Dutch artist's work at the Salon des Independants in 1905. The impact of Van Gogh's work was such, that De Vlaminck revealed he loved Van Gogh more than his own father that day (Tournant dangereux, 1929, p. 229). De Vlaminck found in Van Gogh a similar, revolutionary mind, passionate and spontaneous, always dynamic. La Meule immediately brings to mind Van Gogh in the choice of subject matter and in the dynamic use of colour.

What makes this picture special is the vigorous, broad brushwork. The powerful use of pure white against the darker blues, browns, greens and especially the black, gives this landscape a strong sense of drama. Whilst ignoring details, De Vlaminck used the landscape with dark clouds hovering over a haystack and farmhouses, as a vehicle to express a mood. He wished to render nature and volume in terms of colour. A son of two musicians, he was capable of turning a picture into a powerful, multi-sensual experience.

Like the majority of work by Maurice de Vlaminck La Meule is not dated. It may well belong to the later more mature period in which he used a darker palette punctuated by heavy patches of white paint.