Maurice de Vlaminck

Alex Maguy, Paris
Sale: Christie's, London, April 3, 1990, lot 392
Private Collection, Tokyo (and sold: Sotheby's, New York, October 5, 1992, lot 77)
Private Collection, Tel Aviv (acquired at the above sale and sold: Sotheby's, New York, May 12, 1993, lot 282)
Acquired at the above sale by the present owner

This work is in overall very good condition. The canvas is not lined and UV examination does not reveal any evidence of retouching. There are some fine lines of craquelure in places, mainly towards the upper edge.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Vlaminck is best known as one of the principle figures of the Fauve movement, valuing color over true representation and emphasizing pure painterly qualities in his work. As early as 1907, however, Vlaminck began to move away from the Fauve technique, engaging instead with the stylistic achievements of Paul Cézanne. He noticeably reduced his reliance on color and focused increasingly on how to master the rendering of forms and space within his compositions.

Village animé sous la neige, painted in 1912-14, is a prime example of this turning point in the artist’s career. The painting depicts a snow-covered street flanked by rows of houses. The scene is rather commonplace without any recognizable landmarks, making it impossible to locate the street or even identify the town. Compared to his earlier Fauve output, Vlaminck’s palette is relatively limited. The dark houses add few color accents to the composition, set off in arresting contrast against the white winter sky and the snow covered street. Jean Selz has written about Vlaminck's oeuvre during this period, remarking upon the way in which “the angular planes, striking contrasts of light and shade and introduction of more sombre tones all contribute to the harmony of Vlaminck's canvas, permitting the artist to transpose his predilection for vivid, riotous colours to that of mastering form” (Jean Selz, Vlaminck, Lugano, 1965, p. 64). These sensations are palpably felt in the present scene.

Village animé sous la neige is particularly marked by dramatic perspective, underscored by the recession of the street, running down the middle of the canvas and drawing the eye to follow. Vlaminck valued this effect and developed such street renderings as a recurring motif in his oeuvre.