Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Maurice De Vlaminck - Artist Profile

Movement, Style, School or Type of Art: Fauvism is the movement with which Vlaminck will always be most closely associated. However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didnt and wouldnt care what we call his approach--he was simply being true to his gut. Date and Place of Birth: April 4, 1876, Paris Maurice was born to two musicians: Edmond Julien de Vlaminck, his father, was a pianist, violinist and tenor. His mother, Josephine Grillet, who was from Lorraine, was also a pianist. Because the artist grew up in this household, music came as naturally to him as breathing. In the early years of his adult life, he was able to help support his young family by taking on violin students and getting the occasional paying gig. But, even though it was second-nature, music never lit the fires of passion in Vlaminck that visual art did. Early Life: Young Maurice didnt have the benefit of a top-drawer education, but he was intellectually curious, emotionally fearless and physically imposing. Vlaminck grew to be a tall, strong, red-haired man prone to wearing loud colors and a gaudy wooden necktie. He married for the first time in his teens and worked (in addition to giving music lessons) to support his wife and daughters as a wrestler, billiards shooter, mechanic, laborer and professional cyclist before a bout with typhus weakened him. He also discovered that he could write, and penned several risquà © novels--anything to pay the bills. How He Came to Art: Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter Andrà © Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.) When Art Noticed Him: Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincents color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas. Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon dAutomne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle. Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this wild beast. After meeting Paul Cà ©zanne, Vlamincks work took a turn towards balancing color with more structured compositions. He is best known today for his Fauvism period--a span of no more than seven years. Vlamincks later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books. Important Works: Man Smoking a Pipe, 1900Portrait of Derain, 1905Potato Pickers, 1905-07Self Portrait, 1912The Red Tractor, 1956 Date and Place of Death: October 11, 1958, Rueil-la-Gadelià ¨re, Eure-et-Loir, France Vlaminck apparently expended most of the drama in his life on his paintings. He died peacefully of old age at La Tourillià ¨re, the farmhouse he bought in 1925. How To Pronounce Vlaminck: vlah ·mink This is the French pronunciation of the Belgian spelling of Vlaming, more commonly known as Fleming (person from Flanders) in the English-speaking world. Quotes From Maurice de Vlaminck: Good painting is like good cooking; it can be tasted, but not explained.I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.I seem initially to have followed Fauvism, and then to have followed in Cà ©zannes footsteps. Whatever--I do not mind ... as long as first of all I remained Vlaminck. Sources and Further Reading Derain, Andrà ©. Lettres à   Vlaminck.Paris : Flammarion, 1955.Rewald, John. Vlaminck (1876-1958) His Fauve Period (1903-1907).New York : Perls Galleries, 1968.Buy DirectSelz, Jean. Vlaminck.New York : Crown Publishers, 1963.Buy DirectSelz, Jean. Vlaminck, Maurice deGrove Art Online. Oxford University Press, 7 November 2008.Read a review of Grove Art Online.Vlaminck, Maurice de. Vlaminck, Master of Graphic Art: A RetrospectiveExhibition of Graphic Works, 1905-1926 (exh. cat.).Chicago : R. S. Johnson-International Gallery, 1975.Walterskirchen, Katalin De. Maurice De VlaminckCatalogue Raisonne De Loeuvre Grave.Paris : Flammarion, 1974.Buy Direct Go to Artist Profiles: Names beginning with V or Artist Profiles: Main Index

Judaism The Dynamic Nature Of Judaism - 957 Words

Judaism The dynamic nature of Judaism offers a successful living religion as a result of its strongly withheld characteristics. Through essential characteristics such as central beliefs, sacred texts, writings, ethical teachings and rituals and ceremonies, Judaism offers a dynamic nature and liveable religion that connects an individual and society with its roots. The way this living religion advances and grows is because of its dynamic characteristics as a whole. Importantly, these characteristics combined form the true nature of the religion rather than separately. Judaism is more than a religion, its a way of life. Judaism s entire body of beliefs and teachings which form the foundations of the religion, are outlined in the Torah. Within the Torah, Jewish people find the many different texts and rules that prescribe to them on how to live properly as the chosen people of God. The tradition of Judaism has been alive for thousands of years, its origins tracing back to the Patriarchs Abraham, Jacob and Isaac. Subsequently, from this comes Judaism s central beliefs: The belief in one God, the belief in moral law and the belief and trust in the covenant prescribed to Moses in Exodus 2.0. The Orthodox Judaism strand incorporates the Mitzvot quite literally and tries to take it on word for word. On the other hand Reform Judaism and Conservatio interpret it in different ways. These Sacred Texts form the Jewish religion and fundamentally make up the beliefs that the JewishShow MoreRelatedThe Role of Judaism in Family Relationships: Article Analysis1235 Words   |  5 PagesKrieger, Aliza. The Role of Judaism in Family Relationships. 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It may then appear easy to separate the two realms of thought, and philosophers, theologians and scientists have from time to time attempted to doRead MoreThe Conflict Between Judaism And The Hellenistic And Roman Worlds2278 Words   |  10 Pages As dissimilar as they were, the encounter between Judaism and the Hellenistic and Roman worlds – with the latter taking on much of what the Greeks stood for – should not be considered as a clash between civilizations. Doing so, I believe, would render a complex society and a dynamic process into an absolute and a static one. The postexilic period had obviously brought Jews into contact and in activity with the surrounding non-Jewish communities in which they now lived; however, this social and

Determinant of Public Health-Free Samples-Myassignmenthelp.com

Question: Discuss about the Social and Ecological Determinant of Public Health. Answer: This essay will summarise a study that illustrated the social, health and environmental impacts of light rail transits among people who resided close to an LRT station (Huang et al., 2017). The study recruited 214 respondents (1 adult from each household, located proximal or distal from the stations). Inclusion criteria contained people aged who were more than 18 years, English proficient and able to walk for more than 10 minutes without assistance. There was no discrimination based on race, gender or ethnicity. However, a lesser proportion of participants were obese, aged 40 years, and with income 50,000. An accelerometer, which counted the acceleration of the participants for a week, was used as the determinant. GPS devices were used to divide the data into 30s-epochs. The health outcome was measured in the form of average daily walking minutes, LTR walking minutes, and station area walking proportion with the help of negative binomial regression model. No significant differences were observed in the average daily walking minutes among people who resided within a mile from the stations. This was associated to a reduction in walking, among people who were unaffected by GPS and the accelerometer (Kang et al., 2013). Positive changes were found among those who were more educated and had fewer cars. Thus,people living less than 0.25 miles from the station showed 2.26 times greater walking proportion than those who lived 0.751 miles from the station (Huang et al., 2017). To summarise, it was found that distance from the station was a major contributor of pedestrian activity. Station areas attracted transit use and economic activity. References Huang, R., Moudon, A. V., Zhou, C., Stewart, O. T., Saelens, B. E. (2017). Light rail leads to more walking around station areas.Journal of Transport Health, 6(2017), 201-208. Kang, B., Moudon, A. V., Hurvitz, P. M., Reichley, L., Saelens, B. E. (2013). Walking objectively measured: classifying accelerometer data with GPS and travel diaries.Medicine and science in sports and exercise,45(7), 1419.