The present work reflects Vlaminck’s early Fauve œuvre while showing the influence of Cézanne’s artistic style. The rich palette, consisting of deep greens, browns, oranges and blues, combines with the earth tone hues and contrasts with the black contours, powerfully exhibits Vlaminck's skill in representing the emotion that seized him when he was confronted with this landscape.
It was during this period that Vlaminck would go sailing on the Seine with the legendary art leader Daniel-Henry Kahnweiler. The two shared a boat which they took out together on Sundays. While Kahnweiler was selling works by Vlaminck at this stage, the prolific art dealer was a celebrated champion of Cubist painters, including Léger, Braque and Picasso. With this in mind, their friendship denotes a mutual respect between the two individuals but also underlines the development of art at this time. It is known that Vlaminck had difficulty accepting Cubism's rise, citing amongst other qualms what he saw as a narrow intellectualism. Modernism in France was undergoing a delicate transition from Fauvism to Cubism and it is the artist's pointed disassociation from the latter that makes his work of these years so interesting. Pecheurs près d'un pont presents his direction in a masterful way; a strident individual, Vlaminck created a work that is controlled, learned and true to his character.
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