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Ambroise Vollard, Paris.
Pierre Colle, Paris.
Galerie Renou et Colle, Paris.
Carmen Baron, Paris (par descendance).
Acquis auprès des descendants de celle-ci par Yves Saint Laurent et Pierre Bergé, janvier 1994.
Verve, no. 1, décembre 1937 (illustré en couleur).
J. Leymarie, Le Fauvisme, Genève, 1959, p. 54.
D. Sutton, André Derain, Londres, 1959, p. 146, no. 7 (illustré en couleur).
G. Hilaire, Derain, Genève, 1959, p. 189, pl. 10 (illustré).
G. Jedlicka, Der Fauvismus, Zurich, 1961.
G. Diehl, Derain, Paris, 1964, p. 21.
N. Kalitina, André Derain, Léningrad, 1976, p. 7 (illustré). in Le Petit Journal des Grandes Expositions, no. 42, p. 1
J. Lee, Derain, Londres, 1990, p. 15, no. 7 (illustré en couleur).
S. Whitfield, Fauvism, Londres, 1991, p. 208, no. 23 (illustré, p. 37).
M. Kellermann, André Derain, catalogue raisonné de l'oeuvre peint, Paris, 1992, vol. I, p. 163, no. 270 (illustré).
N. Kalitina, A. Barskaïa et E. Gheorghievskaïa, André Derain: Le peintre à l'épreuve du feu, Bournemouth, 1995, p. 10 (illustré, p. 11).
Paris, Musée National d'Art Moderne, Derain, décembre 1954-janvier 1955, p. 16, no. 10.
Marseille, Musée Cantini, Derain, juin-septembre 1964, no. 6 (illustré).
Paris, Musée National d'Art Moderne et Munich, Haus der Kunst, Le Fauvisme français et les débuts de l'Expressionnisme allemand, janvier-mai 1966, p. 56, no. 19 (illustré, p. 60).
Londres, The Royal Academy, Derain, septembre-novembre 1967, p. 14, no. 4 (illustré).
New York, The Museum of Modern Art; San Francisco, Museum of Modern Art et Fort Worth, The Kimbell Art Museum, The "Wild Beasts": Fauvism and Its Affinities, mars-octobre 1976, p. 9 (illustré).
Rome, Villa Médicis, Derain, novembre 1976-janvier 1977, no. 1 (illustré en couleur).
Paris, Galeries Nationales du Grand Palais, André Derain, février-avril 1977, p. 44, no. 1 (illustré en couleur).
Post Lot Text
'STILL-LIFE WITH A TABLE'; SIGNED AND DATED LOWER RIGHT; OIL ON CANVAS.
André Derain's early Fauve landscapes, similar in style to Péniches au Pecq (Musée National d'Art Moderne, Centre Georges Pompidou, Paris), reveal an inclination towards expressionism through the unprecedented use of pure colours, considered highly provocative at the time. Although he was fascinated by African primitive art and the paintings of Paul Cézanne and Vincent Van Gogh, Derain did not renounce the influence of the Old Masters. With great assiduity, he would walk through the halls of the Louvre and probably attended the great exhibition of Primitive Art at the Pavillon de Marsan in 1904.
Working alongside Henri Matisse at the birth of Fauvism, André Derain was a classic, yet innovative painter of great talent. In 1904, the year he painted Nature morte à la table, Derain chose to devote himself definitively to painting. This major work announces the artist's fauvist influence which is evident in the color palette.
In the present work, Derain pays hommage to the work of Paul Cézanne, who was honoured with a retrospective exhibition at the Salon d'Automne at the end of the same year. The composition brings together a set of jugs, plates with fruit, bottles and a soup bowl against a rustic backdrop, seen from a bird's eye perspective with a range of colours and contrasts of which Cézanne was so fond. However, this was in no way an imitative work as, unlike his predecessor, Derain gives precedence to the relationships between colour masses over the rendering of volume. He deliberately chooses to paint the fruit with a greater emphasis on areas of flat colour than the effects of modelling, in the manner of Paul Gauguin, an artist whom he also greatly admired.
On the other hand, the contrast between the simplicity of the objects and the complex treatment of the tablecloth reveals an intimate knowledge of the great classical masters, whose work he studied during his years in training. The skilled orchestration of the folds highlights the immaculate whiteness of the surface against the blue-tinged shadows. This subtle harmony, comparable to the work of the Impressionists, demonstrates Derain's total mastery of chromatic relationships. A significant work that is rare and ambitious in both subject matter and large-scale format, Nature morte à la table contains the beginnings of all the bold qualities that would make this independent artist one of the most influential talents of French painting in the early 20th century.