Maurice de Vlaminck, Nu couché, 1905. Estimate $2,000,000–3,000,000
Maurice de Vlaminck created his own personal brand of Fauvism which consisted of a dark, black outlines on the forms painted. The black outline adds a depth of darkness into his otherwise very bright color palette. In Nu couché, Vlaminck is exploring the classical subject of the reclining female nude but nevertheless giving it a modern twist through the use of colors. Vlaminck at this time was delving into the world of prostitution and nightlife entertainers. The model's face gains a mask-like quality as the colors are overdone and suggest an extravagant amount of face paints employed. The painting is highly textured as Vlaminck applied thick brushstrokes of paint. The woman is boldly gazing out at the audience unafraid to be observed.
Maurice de Vlaminck, Paysage au bois mort (Ramasseur de bois mort), 1906. Estimate $12,000,000–18,000,000
Paysage au bois mort demonstrates Vlaminck’s characteristic dark outlines which when employed with the bright fauve colors create a balanced effect. Impressionist artists often painted leisurely activities; Vlaminck did not follow suit and instead chose to celebrate the laborer in the field. He aimed to celebrate the average worker. Through his use of complementary colors Vlaminck renders a hillside with three figures. Upon seeing a retrospective of Van Gogh’s work, Vlaminck instantly fell in love. Van Gogh’s stylistic influence can be seen in the brushstrokes Vlaminck used in this work.
Maurice de Vlaminck, Pêcheur à Chatou, 1906. Estimate $9,000,000–14,000,000
Pêcheur à Chatou is an exemplary work depicting the fauve style. The colors employed are bold, rich and loud and are placed next to complementary colors in order to have the most effective impact. The rectangular, thick brushstrokes, accompanied by the colors selected flatten the perspective of the painting creating a depthless picture. Valminck’s brushstrokes in this painting are also particularly impactful as they are painted parallel to each other. The painting appears to be divided into different groupings. Within these groups the brushstrokes follow the same direction which gives the work a crisp and sharp feeling even as it remains crowded with color.
Alexej von Jawlensky, Blaue Kappe (Blue Cap), circa 1912. Estimate $6,000,000–8,000,000
Alexej von Jawlensky moved to Germany and went to France often where he met with Matisse and Kandinsky among other contemporary artists. Whilst he learned and developed ideas from witnessing European painters, he nevertheless kept his Russian upbringing and traditions in his artwork. Jawlensky does not shy away from using eye-catching colors as is clearly visible in this work. Jawlensky followed the concept that colors are a reflection of the artist’s emotions. Present in Blaue Kappe (Blue Cap), Jewlensky painted simplified forms using strong lines. This work is a precursor to his later series showcasing portraits which evoke traditional Russian Orthodox icons.
Fauvism was a 20th century artistic movement which was initially inspired by Vincent van Gogh, Georges Seurat, Paul Gauguin and Paul Cézanne. The style was based around the concept that rich colors were a medium utilized to depict space and light whilst simultaneously expressing the artist’s mood. The colors employed in the paintings no longer reflected the colors seen in nature. A differentiating aspect of Fauvist works is that the canvas appears flat as the minimal forms combined with the strong colors eliminated a strong sense of perspective. Fauvist works are strongly independent, unique works as ultimately the work reflects the individual artist and his particular emotional state. Concurrent to Matisse’s experimentation with post-impressionist technique; André Derain and Maurice de Vlaminck were sharing a studio in a suburb of Paris establishing their use of saturated colors. Matisse met Vlaminck and Derain and supported their work. The artists exhibited their work and their brushstroke and color palate inspired a critic to call the exhibition "Donatello parmi les fauves" which means Donatello among the wild beasts. The phrase was not meant as a compliment but the name nevertheless stuck. Four works from the Triumph of Color: important works from a private European collection allow us an insight into the Fauvist style. – Josefina Wollak