The First Art Newspaper on the Net Established in 1996 United States Wednesday, August 20, 2014


Maurice de Vlaminck, a Fauve Instinct: Paintings from 1900 to 1915 on View at Caixaforum Barcelona
The artworks on show at CaixaForum Barcelona come from several museums and significant private collections from all over the world.
BARCELONA.- CaixaForum Barcelona, “la Caixa” Community Projects opened Maurice de Vlaminck, a Fauve Instinct: Paintings from 1900 to 1915. This is the first Spanish exhibition of works by this artist, who is key in terms of the renewal of European avant-garde painting at the beginning of the 20th century, and arrives to Barcelona after being shown at CaixaForum Madrid.

With this exhibition, “la Caixa” Community Projects aims to make the general public aware of the pioneers of art at the beginning of the 20th century, in the same way as it has done recently with exhibitions of works by Alphonse Mucha and Gustav Klimt. These artists created art that was free from the shackles of realist painting conventions, seeking essential colours and volumes.

Maurice de Vlaminck, a Fauve Instinct. Paintings from 1900 to 1915 is coproduced by “la Caixa” Community Projects and sVo Art – the company responsible for managing the Musée du Luxembourg, where, in 2008, the first version of the exhibition was held, coinciding with the 50th anniversary of Vlaminck’s death. The exhibition, curated by Maïthé Vallès-Bled, includes more than 80 artworks – paintings and ceramics – from the artist’s most creative, innovative period, corresponding to the first two decades of the 20th century. On show in the exhibition too are a number of African and Australasian sculptures from Vlaminck’s collection, suggestive of the influence that primitive cultures had on avant-garde art.

The artworks on show at CaixaForum Barcelona come from several museums and significant private collections from all over the world. The result is a unique exhibition that conveys the creative energy that existed at an extraordinary moment in the history of modern art.

Landscapes, Still Lifes and Portraits
Among the artworks that visitors can see at CaixaForum Barcelona are the artist’s first paintings, which confirm the boldness and seemingly chaotic nature of his compositions, as well as some vivid works exalting the use of colour, which positioned Vlaminck as one of the most potent Fauves of his generation. Finally, there are several canvases from his ‘Cézannesque’ period, marked by his concern for the construction and restitution of space.

Most of Vlaminck’s production is dominated by landscapes, his favourite subject matter. He discovered many of them when out cycling. In the same way as other Fauves, he focused on nature, distancing himself from built-up areas, and he inherited his interest in outdoor painting from the Impressionists. However, unlike his contemporaries, he did not travel to the south of France until 1913, and it was only the Seine valley that provided him with the subject matter for an aesthetic renewal that included elements from the previous generation: from Van Gogh’s bold palette to Gauguin’s more muted colours and Cézanne’s experimentation with volumes.

In reality, the things he painted were only a pretext, since the only subject of his painting is expression through the use of colour and the act of painting itself. It is for that reason that many of the landscapes on show in the exhibition, despite being places near where he used to live, do not include any identifying features. In his pre-1907 works, visitors can appreciate a vibrant rhythm combined with an intense transposition of colour.

In 1907, Vlaminck distanced himself from Fauvism. He had managed to achieve the greatest possible intensity with the use of colour. Despite that, however, in subsequent works, it is still possible to find traces of the previous intensity combined with tones that are more subdued. In his ‘Cézannesque’ period, landscapes had simplified forms and he reduced volumes to geometric shapes, along lines similar to those that led Picasso and Braque towards Cubism.

The exhibition also shows a collection of artworks that are lesser known yet highly significant in terms of his production: a series of still lifes and portraits of friends and neighbours. The portraits, with thick, dark profiles and exaggerated makeup, draw onlookers’ attention because of their power of expression. Like other Fauvists, the characters he portrayed have very little psychological depth because the interest lied in the colour potential of the artwork. Vlaminck found it more difficult to decompose portraits than landscapes, and that explains why he produced very few.

Regarding his still lifes, also very few in number, the changes in perspective and the selective deformation that the artist applies to his subjects are crucial when it comes to understanding his interpretation of space. In the still life paintings he produced between 1905 and 1910, Vlaminck explored the intense expressions of everyday, ordinary, humble objects, following Van Gogh’s example. In them, colours explode and flower petals become veritable symphonies of colour. Reds and yellows predominated initially, and then blues and whites – those of Cézanne’s palette – became the colours of choice. The original turbulence gave way to a profound approach to expression and composition.

The Fauvist Years
An instinctive relationship with colour and matter, combined with an impetuosity of gesture, led Maurice de Vlaminck (1876-1958) to succumb to all the excesses of one of the most radical Fauves. He played a decisive role in establishing this pictorial trend based on the use of intensely vivid colours.

A free spirit, Vlaminck was self-taught in the fields of literature, music and painting. He was a passionate man of action and creation, not only in the field of painting: he was a renowned cyclist, an excellent writer and a prolific engraver, and he even made his own furniture. Ideologically, Vlaminck was a rebel, a free spirit and a non-conformist, and he sympathised with anarchist ideas circulating at that time.

In 1900, a chance meeting occurred, which led him to develop his artistic skills: he met André Derain, who would undeniably become one of his greatest influences and with whom he struck up a life-long friendship. They began to share a studio together next to the Pont de Chatou in the Seine valley, near Paris. A year later, he discovered Van Gogh’s work, which had an enormous impact on him and, more or less at the same time, he struck up friendships with Matisse and Picasso.

So that was how his artistic career began, a career that over the following years would lead him to produce paintings in practically pure colours (hence the adjective fauve, meaning wild or literally “wild animal”). Vlaminck painted quickly; he took colours to their maximum intensity and painted his landscapes using powerful brushstrokes, since his relentless concern was to capture the picture exactly as he perceived it, before it disappeared.

From 1904, Vlaminck’s production was extraordinarily prolific. The artist’s palette went from strength to strength in terms of the use of colour and the quest for light, and his boldness knew no bounds. His broad-mindedness led him to question all conformity with the Post Impressionist legacy, and he freed himself from it in an intense, provocative way by using pure colours, applied directly from the tube, and by selectively deforming the subject represented.

Vlaminck undertook his work without any Mediterranean light, since the landscapes he painted were those of the Seine valley, in Chatou, Rueil and the surrounding areas. Unlike the other Fauves who regularly travelled to the south of France in search of light, Vlaminck could not leave the area around Paris because of his precarious financial circumstances. Nevertheless, he managed to achieve the same explosions of colour as his friends Matisse and Derain. One of the most important dealers of the time, Ambroise Vollard, bought most of his works in 1906, and from that time onwards, he was able to make a living from his painting.

1907: The ‘Cézannesque’ Transformation
From 1907, Vlaminck felt the urge to go beyond using pure colour because it no longer satisfied him, and his palette moved away from the intensity of colour. Strongly influenced by Cézanne, he became concerned with the construction and interpretation of space and experimentation with volumes. He ditched reference to perspective and approached depth by superimposing a series of planes. The tones of his palette became more subdued, his volumes became denser and his shapes became more synthetic. Despite that, however, Vlaminck never severed the link with realistic spatial composition or allowed himself to be drawn towards Cubism, which distanced him from Picasso, Gris and Braque.

Vlaminck achieved considerable success with both critics and the general public, but after the War, he remained on the sidelines of the avant-gardes of his time and gravitated towards trends that were more naturalistic while preserving expressive strokes and an immediate, spontaneous and emotional connection with his painting.

The Experience with Ceramics
In 1906, encouraged by his dealer Ambroise Vollard, Vlaminck began working with the ceramic artist André Metthey, an experience that so enthralled him that he would never give it up, unlike many of his contemporaries who also took part in the initiative, like Derain, Matisse, Maillol, Roussel and Laprade.

From more than 150 catalogued ceramic pieces, it is clear to see how the painter was enthralled by the physical confrontation with clay and by the spatial limitations of their shapes. The decorations on them are varied, and go from depictions of humans, animals and flowers to geometric motifs inspired by primitive art, on which Vlaminck was particularly keen. The aim of both Vlaminck and Metthey was to renew ceramic art and make it profound in nature.

Vlaminck and Primitive Sculpture
The exhibition also includes a number of pieces demonstrating the influence that African and Australasian sculpture had on Vlaminck, particularly during the period when he progressed towards a ‘Cézannesque’ interpretation of the construction of pictorial works. Vlaminck began to collect what is termed as ‘Black Art’ in 1905, which allowed his contemporaries to discover the plastic potential that it offered.

Through Vlaminck and artists akin to him, primitive sculpture ended up being seen as true artwork, doing away with the derogatory colonialist treatment it had experienced until then. Although the influence of such art on Vlaminck’s works had often been denied, it unquestionably captivated him, not only the sculptures’ shapes, but also their colours.

Vlaminck carried on collecting African and Australasian sculptures over the following decades and he often lent them out so that they could be exhibited. Even though it is hard to calculate how many pieces he eventually owned, since he did not maintain a record of them, it is estimated that he bought approximately 400 objects.

Caixaforum Barcelona | Maurice de Vlaminck | Fauve | Alphonse Mucha | Gustav Klimt | André Derain |


Last Week News

July 3, 2009

Exhibition of 200 Images Lead Viewers through the Key Stages of Robert Capa's Career

Watercolours and Graphic Works by Emil Nolde on View at Berlin's Museum of Prints and Drawings

Albright-Knox Embarks on Plan to Sustain Artistic Mission and Address Financial Challenges

Leonardo da Vinci Puzzle Examined by Research and Exhibition of Budapest Horse at National Gallery

F/Stop Leipzig, International Photography Festival Asks Where do We Go from Here?

Sir Ian Wrigglesworth Steps Down as the Chair of the Board at Baltic Board

The European Biennial of Young Artists will be Back in Montrouge

Pioneering "Soul i-D"Exhibition to Tour to Christie's Rockefeller Center

New York State Museum Opens "1609" Exhibit Celebrating Henry Hudson

First Portrait Exhibition to Celebrate the Contribution of Gay People and Gay Icons at the National Portrait Gallery

Kokeshi: From Folk Art to Art Toy Exhibition to Feature Over 300 Dolls

University of the Arts Alumnus Arnold Roth Inducted into Society of Illustrators Hall of Fame

Antony Gormley's One & Other: Housewife from Sleaford Announced as First Plinth Participant

Nassau County Museum of Art Announces Norman Rockwell Exhibition in September

Teens Curate Exhibition of Student Work at Toledo Museum of Art

Jersey City Museum Receives Prestigious State Arts Award

Carnegie Museum of Art will Display Contest Winners' Photographs

"Faster Than a Speeding Bullet: The Art of the Superhero" Exhibition to Include "Action Comics #1"

Friends & Neighbors Exhibition Features Community Curators

New York Public Library's Mariners Harbor Branch Receives the 2009 Award for Excellence in Design

July 2, 2009

Christie's Auction of Post-War and Contemporary Art in London Realises $31.8 Million

Damien Hirst Refuses to Become Royal Academician at the Royal Academy of Arts

St. Louis Sculpture Park, Citygarden, Opens to the Public

Bravo is Sculpting a New Cast for "The Untitled Art Project"

Sears Tower Debuts Glass Walk Out and Skydeck Experience

Shepard Fairey Returns to ICA/Boston, Site of his First Major Museum Exhibition

Free Admission Boosts Sense of Public Ownership of National Museums in the UK

Nearly 30 Years of Collaborative Scholarship Culminate in the First Comprehensive Exhibition

The Royal Academy of Arts will Present GSK Contemporary 2009: Earth: Art of a Changing World

Philip Glass to Perform Etudes and Other Work for Solo Piano at Galleria dell'Accademia

Workshop Missoni: Daring to be Different Opens at Estorick Collection

Chicago Artists Engage Audiences in a Dynamic Five-week Series at the Museum of Contemporary Art

Carl Gustav Carus: Nature and Idea Opens at Staatliche Kunstsammlungen Dresden

Camera Work: Photography from the Permanent Collection on View at the Boca Raton Museum of Art

National Portrait Gallery Announces Finalists and Shortlisted Artists for the "Outwin Boochever Portrait Competition 200

New Time and Navigation Exhibit Is in the Works at the Smithsonian

Cultural Leaders from Across the World Come Together in London to Launch Leadership Programme

"On-site", Wall Paintings by Carlos Motta at P. S. 1 Contemporary Art Center

The J. Paul Getty Trust to Return Avery Index to Columbia University

Magnificent Selection of Chinese Red Lacquerware to be Shown at Metropolitan Museum This Summer

July 1, 2009

Jeff Koons Presents Works from his Popeye Series at the Serpentine Gallery in London

First UK Retrospective of Spanish Designer and Artist Javier Mariscal at the Design Museum

Ann Goldstein will be the New Artistic Director at the Stedelijk Museum

Tate Liverpool Announces Joyous Machines: Michael Landy and Jean Tinguely

The Getty Museum Sets the Scene with Staged Photography

Toronto Architectural Firm RVTR Wins Canada Council for the Arts Professional Prix de Rome

Metropolitan Museum Exhibition Features Work of Renowned Sculptor Augustus Saint-Gaudens

Poster Design Competition Announced by Transport for London and London Transport Museum

Guggenheim Museum Expands Public Access to Archives with Support of Four Recent Grants

Dallas Museum of Art to Examine Relationships Between Performing and Visual Arts

Metal Detector Discovery To Be Offered at Sotheby's

Everson Museum of Art to Add Syracuse China to Permanent Collection

British Council International: Worldwide Search for the Fifth Curator

Jeu de Paume Hosts Major Exhibition Featuring the Personal Collection of Martin Parr

10th Anniversary Review of the Young Architects Program at P.S. 1 Contemporary Art Center

$25 Can Win a MINI Cooper at National Museum of Wildlife Art

Royal Institute of British Architects Announces New Chief Executive

Museum of Contemporary Art San Diego Presents 7th Annual alt.pictureshows Film Festival

Harwood Museum of Art Breaks Ground on 10,000 Sq Ft Expansion

June 30, 2009

Seattle Art Museum Returns Important Australian Aboriginal Secret/Sacred Object to Australia

Eva Rothschild Takes on Tate Britain Duveens Commission 2009

Timothy Rub Elected Director and Chief Executive Officer of Philadelphia Museum of Art

Creative Time Presents New York City's First Quadrennial on Governor's Island

Never Previously Shown van Gogh Portrait Immortalised on Film in New Van Gogh Museum DVD

Filmmaker Philip Haas Commissioned to Create Films for Kimbell Art Museum's Summer Exhibition

Tacoma Art Museum Announces Shortlist of Selected Design Firms

artnet Auctions - Recent Auction Results Show Strong Demand for Fine Art Photographs

'The Thinker' Moves to Philadelphia Museum of Art During Rodin Restorations

Hauser & Wirth Announces the First UK Exhibition of the Berlin-based Artist Martin Eder.

Young in Groningen: Art from the Period 1945-1975

Apollo 11 Moon Landing 40th Anniversary Activities Take Off at the National Air and Space Museum

Interview with Mauro Restiffe: "My participation in PHotoEspaña Involves the Largest Exhibition I have had to Date."

Call of the Coast: Art Colonies of New England at the Portland Museum of Art

Hirshhorn Museum and Sculpture Garden to Present First Retrospective of Anne Truitt's Career

100-Foot Long Running Table by Chicago Artist Dan Peterman Installed in Millenium Park

Everson Museum of Art Offers Plein Air Painting at Artsweek

Dave Hickey to Speak at the Harwood Museum of Art

Open Call for Juried Exhibition Addressing the Broad Theme of "Capitalism in Question (because it is)"

Agnes Gund Appointed Chairman of P.S. 1 Contemporary Art Center's Board of Directors

June 29, 2009

Leaving Rodin Behind? Sculpture in Paris, 1905-1914 Opens at Fundación Mapfre in Madrid

LACMA Presents First Major U.S. Exhibition of Contemporary Korean Art in Nearly Two Decades

Georgian Watercolour Acquired for Buckinghamshire with Art Fund Help

MOCA to Present a New Site-specific Installation by Benjamin Ball and Gaston Nogues

ARTEK Congratulates Tobias Rehberger on the Golden Lion Award

Interview with Malick Sidibé: "I Should Keep on Working Much More and Even Better"

Gibbes Museum Encourages Visitors to Take Part of Exhibition Home on Final Weekend

Patricia Esquivias: Everything that is Not a Portion is Speculation Opens at Reina Sofia Museum

Exhibition of Works by Iconic Italian Glass Manufacturer Venini to Open at Sebastian + Barquet

Kunsthalle Basel's Report on Probability Comments on the History of Modernity

Sculpture Park Signed Management Agreement with the City of Miami Beach

Burnham Exhibit Showcasing "Business of Architecture" Opens July 9 at DePaul University Art Museum

Stunning Exhibition of Nearly 50 Portraits by Cecil Beaton at Walker Art Gallery

DESTE Foundation Presents Two Exhibitions: Matthew Barney & Elizabeth Peyton and New Display of the Joannou Collection

Moscow Museum of Modern Art Shows Francesca Leone's "Beyond their Gaze"

Barkley L. Hendricks: Birth of the Cool Coming to the Pennsylvania Academy of the Fine Arts

Rock Financial Showplace Announces Fall Great Lakes Art Fair

Armin Boehm & Anita Di Bianco Exhibit at Kunstverein Braunschweig

Clif Olds "Retires" from the Bowdoin College Museum of Art

Exhibition Appropriates and Preserves the Spirit of the Mid-Century Miami Photographer

June 28, 2009

MoMA Presents an Exhibition of the Paintings, Drawings, and Prints of James Ensor

Terry Semel Joins Andrew Gordon as Co-Chairman of LACMA's Board, Others Elected Trustees

Renaissance Armor and Portraits on View for the First Time at the National Gallery of Art

Seattle Art Museum Announces Gifts of Art in Honor of Outgoing Director Mimi Gates

The Art Fund Helps Hunterian Acquire Work by Turner Prize-nominated Artist Lucy Skaer

Asian Art Galleries at the Birmingham Museum of Art Reopen After Two Years

MOCA Raises $57 Million, Contributes $8.5 Million to Endowment Assets

New York Public Library Announces Five-month Long Festival Featuring a Wide Range of Performances

Museum of Contemporary Art, Chicago, Announces it will Present Daria Martin's Film Minotaur

Project Art Minerva to Raise Funds for Restoring Abruzzo Church with Auction

Experts Discuss McCloy Collection and Dr. Seuss at Exhibitions Reception

Exhibition Celebrating the Centennial of Baltimore Artist Herman Maril's Birth Opens at The Walters

Maya Caves and Caverns Registration Continues

Shortlist Announced for this Year's Aspect Prize, Scotland's Premier Award for Painting

Philbrook to Expand in Tulsa's Arts District

School Students Urge MPs to Leave London for Sherwood Forest

Santa Monica Art Studios Announces 5th Anniversary Celebrations

Most Popular Last Seven Days



1.- Mystery over massive Alexander the Great-era tomb unearthed in northern Greece

2.- An ancient money box containing a large rare hoard of coins found in Israel

3.- Robin Williams' portrait installed today at the National Portrait Gallery in Washington

4.- The Baltimore Museum of Art announces three new contemporary exhibitions in fall

5.- New Aspen Art Museum designed by architect Shigeru Ban opens to the public

6.- New York's Metropolitan Museum of Art launches 82nd & Fifth app in 12 languages

7.- MoMA online-only publication features new research on Pablo Picasso and Cubism

8.- Volunteers needed for massive Smithsonian digitization project

9.- Tate Britain welcomes home John Everett Millais's Ophelia and Rossetti’s The Beloved

10.- Bogart estate: Hollywood golden age icon Lauren Bacall dead at 89 in New York

Related Stories



Figurative Paintings From the La Caixa Foundation Collection on View in Barcelona



Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 

Founder:
Ignacio Villarreal
Editor & Publisher: Jose Villarreal - Consultant: Ignacio Villarreal Jr.
Art Director: Juan José Sepúlveda Rmz. - Marketing: Carla Gutiérrez
Special Contributor: Liz Gangemi - Special Advisor: Carlos Amador
Contributing Editor: Carolina Farias

Royalville Communications, Inc
produces:

ignaciovillarreal.org theavemaria.org juncodelavega.org facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site