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Maurice de Vlaminck
Maurice de
France 1876−1958
Biography and information
Maurice de Vlaminck (FR. Maurice de Vlaminck) proud of the fact that his foot «had not crossed the threshold of the Louvre» called themselves «tender and full of unbridled ferocity barbarian» and went down in art history as «the instigator"expressionismamong the fauves. Before becoming famous, he made a living with music lessons and writing erotic stories, was a professional cyclist, Turner, mechanic and draftsman. The legendary Fauvist Henri MatisseThe Vlaminck hated, and his best friend in the early years of Fauvism, Andre Derainthrough some tens years will say: «Don't tell me about Vlaminck. In painting it’s the butcher!».

Widely known version of that Maurice de Vlaminck is a day not studied painting, but she’s not quite fair: art schools he really «was not involved, not involved, not involved," but in his youth he took private drawing lessons. Parents — Flemish immigrants — saw his future in music, following the example of his father, a music teacher. Maurice learned to play the violin, but chose music sports. With 16 years he became a cyclist. The sport was good, but a sudden illness (fever) was forced to say goodbye to the thoughts of a sports career.

In 18 years, Maurice married a girl named Susannah Burley, who soon bore him a son. To provide for the family not really succeeded. The Vlaminck worked as a musician in vaudeville in Paris, played pool, worked as a journalist, wrote erotic stories. In the biographies of many artists can be seen this period, and often it has added a touching detail, from which we learn how not having funds for the training, but loving painting beginner genius spent all my time in museums… Anything like that about Vlaminck not say. Moreover, he is extremely proud that have not been in museums, considering that such visits are depriving the artist’s identity and make it a theorist, not a painter. «In art, theories are as useful as the doctor’s advice: you have to be sick to believe them»this is manifest Vlaminck.

In the early 1900s, Maurice de Vlaminck became friends with Andre Derain. Together they took a Studio in Chatou, in unison admired Van Goghand domesticated «wild» color. And Derain illustrated erotic stories Vlaminck. In the following, 1905 Derain introduced Matisse and Vlaminck, and a few months later, at the autumn Salon of Independent in relation to their work has made the definition of Fauvism (from fauve — wild). The Vlaminck and Matisse each other strongly disliked. Impressive Matisse considered brutal Vlaminck overly wild, even for a community of «wild», and Vlaminck made a disparaging remark about decoration and calm of Matisse’s paintings.

Gallery Ambroise Vollard— a very significant figure for the French artists of those years have acquired a number of paintings Vlaminck, and soon organized his solo exhibition. But the first wife did not wait for his success — they divorced in 1904. The Vlaminck is not long grieved and found comfort in the arms of a second wife — Bertha Comba, who bore him two daughters.

Like his friend Derain, Maurice de Vlaminck Fauvism after turned in the direction cubismand just as quickly left him, and retained a deep hostility to Picasso. «It all counts, the villain and the Dodger»— resented the Vlaminck. He panted in the framework of cubism, to define them as militaristic and stating that they turn him into a neurotic.

«Cubist discipline reminds me of the words of my parents: «the Regiment will bring you favour— taunted the Vlaminck. Military service was not passed, in the First world war he was mobilized, he worked as a draftsman in a defense plant and there is nothing good about this could not tell. Honestly, Maurice de Vlaminck did not differ propensity to give praise to anything or anyone. Like he was rude, in a way brutal, «savage» was used qualitatively, was a kind of proletarian-marginal. However, the exhibition of 1919 at the gallery, Drue, which was sold his paintings for 10 thousand francs, let Vlaminck to stop being so proletarian. He bought in the suburbs of Paris house and settled there with his family said goodbye to the noisy city life.

The idea of the «art for art» and abstract problems of pure painting after the First world war, Vlaminck rejected completely. Not associated with real life art he compared now with Platonic love: «her never born». Was finally abandoned flirtation with cubism, his paintings are filled with dramatic, fierce expression, a riot of color Fauvism changed the restrained tension of dark, gloomy colors. He actively uses black, white, cinnabar, lead shades, the fractional strokes, uneven rhythmic repetition. In his landscapes there was a man — not sure he was portrayed, but its presence is implied. Unlike his great contemporary of Matisse, Vlaminck certainly did not aim «to calm a tired man». In his world peace not even dream, and the man was clearly anxious and uncomfortable. But Vlaminck does not want to «make good» to the viewer.

«Wild» the artist has steadily gained an audience. His solo exhibitions were held not only in France but also in USA, Switzerland, England. But the Second world war brought a serious rift in the relationship Vlaminck with the world. Often in biographies of the artist mentioned that he was anti-fascist League and was deception involved in the Nazi propaganda campaign, together with other artists — Derain, Marriage, By frieza, van Dongen. However, in the memoirs of a German officer Werner Lange, «responsible» for the French and Bohemians were in direct command of Goebbels, there are stories that Vlaminck he especially became friends and visited a reception at the country house of the artist. «Will they understand me if I say that the occupation was intolerable, but we have adapted it wonderful?»— the aptly and ironically commented on the attitude of many people in the arts with the occupiers writer Jean-Paul Sartre. The Vlaminck to adapt precisely managed.

After the war, the artist was accused of collaboration, but the investigation of the Special Committee for the occupation, withdrew the charges against him. Unlike Derain, whose history of participation in Nazi propaganda was a major blow, and turned him from active public life, Vlaminck managed to restore its positions and in 1954 he represented France at the Venice Biennale.

Author: Alain Esaulova
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Larisa Mineeva

On August 3, 1914, Germany declared war on France. From that day on, in the next four years the Parisian newspaper "Le Figaro" would lead a terrible account of the days. On November 11, 1918 the morning issue of the newspaper contained the message: "The 1561st day of War". Newsmen didn't know that day would be the last one, and the Parisians were leery of enjoying the signs of the end of the war…

Olga Romeyko
, 29 July 08:41 PM 0
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Уважаемая Анна, благодарю за замечательную статью, за такую объёмную систематизацию большого материала, важных событий во всемирной истории и истории искусства. Хочу обратить Ваше внимание, что Кандинский никогда не был ни укаинцем, ни поляком, а тем более - русским. Конечно, приятно сделать гения своим соотечественником. И с этой позиции хочу сказать , что в Беларуси до сих пор живут его кровные родственники. Ещё раз - благодарю Вас за огромный результативный труд.
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Fauvism is considered the first avant-garde art movement of the 20th century. It got its name in 1905 and lived only a couple of years, then each artist, calling themselves the Fauves, went deep into own creative search. The brightest representatives of the Fauvism are Henri Matisse ,  André Derain and Maurice de Vlaminck .

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Artworks by the artist
total 138 artworks
Maurice de Vlaminck. Landscape at Auvers
Landscape at Auvers
1924, 45×45 cm
Maurice de Vlaminck. Barges on the Seine
Barges on the Seine
1906, 81×100 cm
Maurice de Vlaminck. Man with pipe (Portrait of dad, Buju)
Man with pipe (Portrait of dad, Buju)
1900, 72×48.5 cm
Maurice de Vlaminck. Marina (Havre)
Marina (Havre)
1929, 54.3×65.2 cm
Maurice de Vlaminck. Landscape with red trees
Landscape with red trees
1906, 65×81 cm
Maurice de Vlaminck. (no title)
(no title)
1906, 32.7×46.7 cm
Maurice de Vlaminck. Landscape with a house on the hill
Landscape with a house on the hill
1926, 33×41 cm
Maurice de Vlaminck. Town on the banks of the Seine
Town on the banks of the Seine
1909, 81×100 cm
Maurice de Vlaminck. Town (Town Of SURESNES)
Town (Town Of SURESNES)
1909, 73×92 cm
View 138 artworks by the artist