安德烈·德安

Galerie Hermann (Marcelle Bénézit), Paris

Acquired from the above in November 1948

Excellent condition overall. There is very thin craquelure at the center left, which is stable. Under UV light, there are a few small touches of restoration in the following areas: 2 small retouchges near the middle-left edge in the dark green; one in the shadow to the left of the jug; and one in the upper right corner.
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.

Nature morte, executed in 1901, is one of Derain’s earliest known still-lifes.  Rendered in wide, spontaneous brushstrokes of bold color, it reflects important events in the early days of Derain’s career, which were to determine the direction of his art.  In June 1900 he met Vlaminck on a train between Paris and Chatou, and the two soon established a close friendship and began to paint together, influencing each other’s ideas and styles.  It was during a Van Gogh exhibition held inParis in March 1901 that Derain introduced Vlaminck to Matisse, and thereby assembled what soon became the core group of Fauve artists.

Writing about Matisse’s influence on Derain’s painting, Jane Lee noted: ‘When Derain met him, the focus of Matisse’s work was on a series of still-life paintings with sharp diagonal compositions, abruptly limited viewpoints, and heightened colour which expressed the fall of light’ (J. Lee, Derain, Oxford & New York, 1990, p. 12).  The impact of these compositions is clearly visible in the present work: the table on top of which the elements of this still-life are resting is rendered in accentuated diagonal lines; the assemblage of objects is shown from a close-up view, the background with what could be read as a window at the top of the composition is sharply cut out of the picture frame.  The strong, vivid colouration of the objects, outlined by brush-strokes of deep blue and black, anticipates the Fauve revolution that was soon to change the course of twentieth-century art.