- 312
Maurice de Vlaminck
Estimate
250,000 - 350,000 USD
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Description
- Maurice de Vlaminck
- La Seine à Chatou
- Signed Vlaminck (lower right)
- Oil on canvas
- 23 5/8 by 28 7/8 in.
- 60.1 by 73.2 cm
Provenance
Private Collection, New York (and sold: Sotheby's, New York, November 17, 1998, lot 359)
Acquired at the above sale
Acquired at the above sale
Condition
This work is in very good condition. Canvas has not been lined. The pigments are bright and fresh and the surface has been well-preserved. Under UV light: no inpainting is apparent.
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.
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.
Catalogue Note
This depiction of a bridge over the river Seine in Chatou exemplifies the expressive brushwork and vivid palette for which Vlaminck’s Fauve compositions are renowned. Vlaminck depicted bridges along the Seine in the early 1900s; a popular motif, the present work utilizes bold jewel tones and fervent brushstrokes, a technique which earned Vlaminck and his colleagues Matisse, Braque and Derain the name "Fauves" ("wild beasts") in 1905 at the Paris Salon d’Automne.
Vlaminck, who later described Fauve art as a "manner of being" rather than an intellectual invention, followed his instincts in applying his paint onto canvas in an almost violent fashion. The fierce greens and blues combined with earth tone hues which dominate the scene are contrasted with the black countors, heralding Vlaminck’s "Cézannesque" period that would dominate in the years to come.
Scenes along the Seine held a central place in Vlaminck’s work throughout his career and predominated his Fauve compositions. “It was in painting the banks of the Seine," Vlaminck would later recall, “that I tried to represent the emotion that seized hold of me when faced by this landscape… It can only have been the extraordinarily strong and powerful enthusiasm felt by my twenty-year-old-self, the rush of life that I experienced at the time,that enabled me to transpose this banal subject [The Seine], through a blaze of color, into fierce realism and exuberant picturesque!” (quoted in Maïthé Vallès-Bled, Vlaminck, Catalogue critique des peintures et céramiquesde la période fauve, Paris, 2008, p. 361).
Vlaminck, who later described Fauve art as a "manner of being" rather than an intellectual invention, followed his instincts in applying his paint onto canvas in an almost violent fashion. The fierce greens and blues combined with earth tone hues which dominate the scene are contrasted with the black countors, heralding Vlaminck’s "Cézannesque" period that would dominate in the years to come.
Scenes along the Seine held a central place in Vlaminck’s work throughout his career and predominated his Fauve compositions. “It was in painting the banks of the Seine," Vlaminck would later recall, “that I tried to represent the emotion that seized hold of me when faced by this landscape… It can only have been the extraordinarily strong and powerful enthusiasm felt by my twenty-year-old-self, the rush of life that I experienced at the time,that enabled me to transpose this banal subject [The Seine], through a blaze of color, into fierce realism and exuberant picturesque!” (quoted in Maïthé Vallès-Bled, Vlaminck, Catalogue critique des peintures et céramiquesde la période fauve, Paris, 2008, p. 361).