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Andre Derain

Andre Derain caused a scandal with wild color at the 1905 Paris Salon d'Automne and ended by painting quiet gardens near Paris.


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Andre Derain

Andre Derain caused a scandal with wild color at the 1905 Paris Salon d'Automne and ended by painting quiet gardens near Paris. more about the artist
France · 1880–1954 · Fauvism, Cubism · 419 artworks found
Andre Derain
1880–1954
BornJune 10, 1880 (Chatou)
DiedSeptember 11, 1954 (Garches) at the age of 74
NationalityFrance
EpochsFauvism, Cubism
Genrelandscape, portrait, still life, animal painting, genre painting, history painting, nude, religious art
Professionpainter, sculptor, engraver, scenographer, illustrator, jewelry designer, photographer, graphic artist, draftsperson, designer, lithographer, watercolorist, xylographer, pastellist, art collector
Family
Father: Louis Derain
Spouse: Alice Derain
Child: André-Charlemagne Knaublich
StudentYohanan Simon
Influenced byGeorges Seurat, Paul Gauguin, Maurice de Vlaminck
MembershipsComité national de l'estampe
Notable worksMountains at Collioure (1905), Woman in a Chemise (1906), The Golden Age (1905), Big Ben (1906), The Port of Collioure (1905)

Andre Derain

Andre Derain came to L'Estaque in the summer of 1906, to a coastal village near Marseille that Cezanne had painted before him. The young French painter found pines, walls and bright paths there and painted them as though someone had moved the sun closer to the earth. In “The Turning Road, L'Estaque”, a road bends between trees whose trunks glow orange-red; the crowns above are blue, green and yellow, the ground shines pink, and between the trunks small figures pass by carrying their burdens. “Three Trees, L'Estaque” was also created during these months, with three curving trunks before an ochre-yellow slope, a green house behind them, and a tiny figure in red sitting on the wall.

Derain had grown up elsewhere, in Chatou on the Seine west of Paris; he was born there in June 1880. At eighteen he attended the Academie Carriere in Paris and met Henri Matisse; in 1900 Maurice de Vlaminck joined them, and Derain shared a studio with him on an island in the Seine near Chatou. Together the two painted the island's riverbanks, and they later became known as the School of Chatou. From 1901 to 1904, military service interrupted his painting. In the summer of 1905 Derain worked with Matisse in Collioure on the Mediterranean, and that autumn the new paintings hung in Room VII of the Paris Salon d'Automne; amid the garish canvases stood a well-behaved Neoclassical bust of a child by a sculptor. The critic Louis Vauxcelles joked that it was a Donatello among wild beasts: the bust a piece of decorous Renaissance art, the surrounding painters les fauves, the wild beasts. The mockery became the name of a style, and Derain, together with Matisse, became a co-founder of Fauvism. In “The Dance” from 1906, figures in red, ochre and striped blue dance before a radiant yellow ground, a green snake winds through the thicket, and a colorful bird beats its wings; here color obeys only the picture and its own fire.

Word of this new blaze of color spread. The dealer Ambroise Vollard had seen how well Monet's London paintings of the Thames sold, so in 1906 and 1907 he sent Derain across the English Channel three times. The painter produced thirty paintings on these journeys, and Vollard bought the entire series. In “The Thames and Tower Bridge” from 1907, the river lies in the light as a green-dappled surface, barges with red hulls crowd the bank, a lone rower traces his path, and in the distance the bridge stands blue against a sky of yellow and pink, as festive as though the city were celebrating the day.

Painters are like gardens; some things burst into bloom and call out over the fence, while others grow quietly and reveal only after years what lies within them. In Derain, both kinds inhabit a single body of work, and anyone viewing his pictures side by side at Meisterdrucke will notice two very different volumes. A Fauve painting from 1906 commands a wall, so much power resides in its pure colors. The late landscapes and still lifes, by contrast, are quiet neighbors, perennials beneath sunflowers, taking their time and leaving a lasting impression.

The path to these quiet pictures led through a rupture. From 1914 to 1919 Derain served as a soldier in the First World War; afterward he left wild color behind, painted in a classical, austere manner and was regarded by many in the 1920s as France's leading painter. In 1919 he designed the sets and costumes for La Boutique fantasque, The Magic Toyshop, for Sergei Diaghilev's famous ballet company, the Ballets Russes; the London premiere was a triumph and led to further stage commissions. Over the years, the stillness in his pictures deepened; “Roses in a Vase” from 1932 already speaks this quieter language. In 1935 Derain bought an estate in Chambourcy west of Paris, had the ground floor converted into a studio and worked in the garden's orangery during the summer. During the war years he painted gardens and views of Donnemarie-en-Montois, a small country town southeast of Paris; one of these subjects appears in our catalogue as “Garden at Ponnermaire in Montois”, with the place name misspelled. In 1941 Derain took part in an artists' trip to Berlin organized by the German occupiers; after the Liberation, this was held against him as collaboration, and former supporters shunned him.

In 1954 Derain was struck by a vehicle in Garches near Paris and died from his injuries in September; an eye infection had already weakened him the year before, and he had never fully recovered. By then he had lived for almost twenty years in Chambourcy, on an estate called La Roseraie, French for the Rose Garden. There he created the still lifes and landscapes of his later years, quiet pictures by a painter who had once been counted among the wild beasts.

Artworks by Andre Derain

419 artworks found
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Andre Derain
 
1906 |

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Andre Derain
The Thames and Tower Bridge; La ...
1907 |

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Andre Derain
Three Trees,L’Estaque
1906 |

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Andre Derain
The two barges
1906 |

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Andre Derain
Jardin a Ponnermaire en Montois,...
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Andre Derain
 
1907 |

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Andre Derain
Roses in a vase
1932 |

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Andre Derain
The handsome model
1923 |

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Andre Derain
 
1910 |

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Andre Derain
The road
1932 |

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Andre Derain
Blonde woman's neck with bun. Pa...
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Andre Derain
Le noir à la mandoline
1925 |

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Andre Derain
Roses in a black vase, 20th cent...
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Andre Derain
Barques amarrées à l’Estaque
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Andre Derain
The port of Collioure
1905 |

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Andre Derain
 
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Andre Derain
Buste de femme assise aux seins nus
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Andre Derain
Cadaques Painting by Andre Derai...
1910 |

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Andre Derain
Nu assis
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Andre Derain
Le Petit Port, l'Estaque
1905 |

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Andre Derain
Nu allongé
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Andre Derain
Vue de Cagnes
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Andre Derain
Still Life on a Table, c.1903 (o...
1903 |

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Andre Derain
 
1905 |

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Andre Derain
Fishing boats in Collioure (Pyre...
1905 |

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Andre Derain
The big tree, c.1929-30 (oil on ...
1930 |

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Andre Derain
Album, page 105 (watercolor on p...
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Andre Derain
Three figures sitting on the grass
1906 |

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Andre Derain
Girl in Black, c.1913 (oil on ca...
1913 |

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Andre Derain
L'Âge d'or
1905 |

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Andre Derain
Table garnie
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Andre Derain
Vue de Cagnes (Ansicht von Cagnes)
1910 |

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Andre Derain
La Clairière, circa 1904 (oil on...
1904 |

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Andre Derain
Etude pour "L'Âge d'Or"
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Andre Derain
 
1905 |

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Andre Derain
Baigneuses dansantes
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Andre Derain
Portrait of Maurice de Vlaminck ...
1905 |

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Andre Derain
 
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Andre Derain
Portrait of the painter's niece ...
1931 |

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Andre Derain
 
1907 |

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Andre Derain
Boats at the Port of Collioure, ...
1905 |

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Andre Derain
L’Estaque
1906 |

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Andre Derain
Collioure: The Fishing Port; Col...
1905 |

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Andre Derain
La Danse
1906 |

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Andre Derain
Three Figures Seated on Grass (o...
1906 |

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Andre Derain
Boats In Collioure
1905 |

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Andre Derain
Nature morte aux fruits
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Andre Derain
Voiliers à Collioure
1905 |

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Andre Derain
Le noir a la mandoline (painting...
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Andre Derain
Baigneuses
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Andre Derain
Le port de Collioure
1905 |

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Andre Derain
Portrait de Geneviève au chapeau...
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Andre Derain
NATURE MORTE SUR FOND NOIR
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Andre Derain
Portrait of Madame Paul Guillaum...
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Andre Derain
Portrait d'Henri Matisse (Matiss...
1905 |

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Andre Derain
Three Dancers, 20th century (Wat...
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Andre Derain
 
1905 |

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Andre Derain
Bathers; Baigneuses
1905 |

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Andre Derain
Interieur (Das Schlafzimmer)
1901 |

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Andre Derain
Paysage en Provence, Martigues
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Andre Derain
Self Portrait with a Cap, c.1905...
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Andre Derain
Pièce d'eau à Carrières-sur-Seine
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Andre Derain
Buste de femme
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Andre Derain
The seated painter's niece, c.19...
1931 |

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Andre Derain
Pears, Peaches and Grapes; Poire...
1928 |

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Andre Derain
Nu de dos
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Andre Derain
Nude Bathers (oil on canvas)
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Andre Derain
Boats on the Beach at Collioure;...
1905 |

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Andre Derain
 
1904 |

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Andre Derain
Arbre, paysage au bord d’une riv...
1905 |

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Andre Derain
Paysage de Camiers (Pas-de-Calais)
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Andre Derain
Pichet, verseuse tripode ou La c...
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Andre Derain
Collioure, le village à la mer
1905 |

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Andre Derain
Portrait de femme
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Andre Derain
Table garnie
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Andre Derain
Pinede a Cassis
1907 |

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Andre Derain
 
1935 |

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Andre Derain
Interior, or The Bedroom, c.1900...
1901 |

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Andre Derain
Bateaux sur la plage à Collioure
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Andre Derain
The Bay, c.1904 (watercolor on p...
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Andre Derain
 
1910 |

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Andre Derain
Chemin animé aux Lecques
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Andre Derain
Harbour, c.1905 (oil on canvas)
1905 |

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Andre Derain
Nature morte à la table
1910 |

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Andre Derain
 
1906 |

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About the artist

Andre Derain
1880–1954
BornJune 10, 1880 (Chatou)
DiedSeptember 11, 1954 (Garches) at the age of 74
NationalityFrance
EpochsFauvism, Cubism
Genrelandscape, portrait, still life, animal painting, genre painting, history painting, nude, religious art
Professionpainter, sculptor, engraver, scenographer, illustrator, jewelry designer, photographer, graphic artist, draftsperson, designer, lithographer, watercolorist, xylographer, pastellist, art collector
Family
Father: Louis Derain
Spouse: Alice Derain
Child: André-Charlemagne Knaublich
StudentYohanan Simon
Influenced byGeorges Seurat, Paul Gauguin, Maurice de Vlaminck
MembershipsComité national de l'estampe
Notable worksMountains at Collioure (1905), Woman in a Chemise (1906), The Golden Age (1905), Big Ben (1906), The Port of Collioure (1905)

Andre Derain came to L'Estaque in the summer of 1906, to a coastal village near Marseille that Cezanne had painted before him. The young French painter found pines, walls and bright paths there and painted them as though someone had moved the sun closer to the earth. In “The Turning Road, L'Estaque”, a road bends between trees whose trunks glow orange-red; the crowns above are blue, green and yellow, the ground shines pink, and between the trunks small figures pass by carrying their burdens. “Three Trees, L'Estaque” was also created during these months, with three curving trunks before an ochre-yellow slope, a green house behind them, and a tiny figure in red sitting on the wall.

Derain had grown up elsewhere, in Chatou on the Seine west of Paris; he was born there in June 1880. At eighteen he attended the Academie Carriere in Paris and met Henri Matisse; in 1900 Maurice de Vlaminck joined them, and Derain shared a studio with him on an island in the Seine near Chatou. Together the two painted the island's riverbanks, and they later became known as the School of Chatou. From 1901 to 1904, military service interrupted his painting. In the summer of 1905 Derain worked with Matisse in Collioure on the Mediterranean, and that autumn the new paintings hung in Room VII of the Paris Salon d'Automne; amid the garish canvases stood a well-behaved Neoclassical bust of a child by a sculptor. The critic Louis Vauxcelles joked that it was a Donatello among wild beasts: the bust a piece of decorous Renaissance art, the surrounding painters les fauves, the wild beasts. The mockery became the name of a style, and Derain, together with Matisse, became a co-founder of Fauvism. In “The Dance” from 1906, figures in red, ochre and striped blue dance before a radiant yellow ground, a green snake winds through the thicket, and a colorful bird beats its wings; here color obeys only the picture and its own fire.

Word of this new blaze of color spread. The dealer Ambroise Vollard had seen how well Monet's London paintings of the Thames sold, so in 1906 and 1907 he sent Derain across the English Channel three times. The painter produced thirty paintings on these journeys, and Vollard bought the entire series. In “The Thames and Tower Bridge” from 1907, the river lies in the light as a green-dappled surface, barges with red hulls crowd the bank, a lone rower traces his path, and in the distance the bridge stands blue against a sky of yellow and pink, as festive as though the city were celebrating the day.

Painters are like gardens; some things burst into bloom and call out over the fence, while others grow quietly and reveal only after years what lies within them. In Derain, both kinds inhabit a single body of work, and anyone viewing his pictures side by side at Meisterdrucke will notice two very different volumes. A Fauve painting from 1906 commands a wall, so much power resides in its pure colors. The late landscapes and still lifes, by contrast, are quiet neighbors, perennials beneath sunflowers, taking their time and leaving a lasting impression.

The path to these quiet pictures led through a rupture. From 1914 to 1919 Derain served as a soldier in the First World War; afterward he left wild color behind, painted in a classical, austere manner and was regarded by many in the 1920s as France's leading painter. In 1919 he designed the sets and costumes for La Boutique fantasque, The Magic Toyshop, for Sergei Diaghilev's famous ballet company, the Ballets Russes; the London premiere was a triumph and led to further stage commissions. Over the years, the stillness in his pictures deepened; “Roses in a Vase” from 1932 already speaks this quieter language. In 1935 Derain bought an estate in Chambourcy west of Paris, had the ground floor converted into a studio and worked in the garden's orangery during the summer. During the war years he painted gardens and views of Donnemarie-en-Montois, a small country town southeast of Paris; one of these subjects appears in our catalogue as “Garden at Ponnermaire in Montois”, with the place name misspelled. In 1941 Derain took part in an artists' trip to Berlin organized by the German occupiers; after the Liberation, this was held against him as collaboration, and former supporters shunned him.

In 1954 Derain was struck by a vehicle in Garches near Paris and died from his injuries in September; an eye infection had already weakened him the year before, and he had never fully recovered. By then he had lived for almost twenty years in Chambourcy, on an estate called La Roseraie, French for the Rose Garden. There he created the still lifes and landscapes of his later years, quiet pictures by a painter who had once been counted among the wild beasts.



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Still have questions?

Are you interested in an art print from our manufactory but still unsure? Do you need advice on choosing the medium or help with the order?

Our experts are happy to assist you.

+43 4257 29415
support@meisterdrucke.com
Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00


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