| Born | June 10, 1880 (Chatou) |
| Died | September 11, 1954 (Garches) at the age of 74 |
| Nationality | France |
| Epochs | Fauvism, Cubism |
| Genre | landscape, portrait, still life, animal painting, genre painting, history painting, nude, religious art |
| Profession | painter, 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 |
| Student | Yohanan Simon |
| Influenced by | Georges Seurat, Paul Gauguin, Maurice de Vlaminck |
| Memberships | Comité national de l'estampe |
| Notable works | Mountains 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.
Page 1 / 5
| Born | June 10, 1880 (Chatou) |
| Died | September 11, 1954 (Garches) at the age of 74 |
| Nationality | France |
| Epochs | Fauvism, Cubism |
| Genre | landscape, portrait, still life, animal painting, genre painting, history painting, nude, religious art |
| Profession | painter, 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 |
| Student | Yohanan Simon |
| Influenced by | Georges Seurat, Paul Gauguin, Maurice de Vlaminck |
| Memberships | Comité national de l'estampe |
| Notable works | Mountains 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.