拍品專文
The Wildenstein Institute will include this painting in their forthcoming Vlaminck catalogue raisonn.
In April 1906, Ambroise Vollard purchased the entire contents of Vlaminck's studio for 6,000 francs, which enabled Vlaminck to devote himself entirely to his work. In 1900, Vlaminck had met Drain and together they shared a studio on the Ile-de-Chatou. During the summer months of 1906, while his artist friends left to paint in coastal locations--Matisse to Colloiure, Marquet and Dufy to Normandy, Drain to England and L'Estaque--Vlaminck stayed in the vicinity of the Seine, painting in Chatou, Bougival, Argenteuil and Le Pecq.
Vlaminck's use of intense color corresponded to his own exuberant nature and epitomized the Fauve movement. Guillaume Apollinaire wrote of Vlaminck in the Revue des Lettres et des Arts, "M de Vlaminck has a Flemish sense of joy. His painting is a Kermesse" (quoted in M. Sauvage, Vlaminck, sa vie et son message, Geneva, 1956, p. 25).
In the paintings of 1906 Vlaminck did not make any attempt to change his style of expression from the previous years. He believed firmly that he was on the right course and he tried only to perfect his idiom in order to better express his inner feeling of expression. However, there was a certain calming effect found in the composition and brushwork of Vlaminck, although some inner tension was still evident. "There was no conflict between his inspiration and his skill: the idiom remained very simple, flexibly adapted to the artist's lyricism . . . The color became daring and arbitrary and above all, predominant, that is to say it was the soul of the pictures, it was light and space: the paint itself was applied more lightly, in supple, clear, dynamic brushstrokes of tremendous variety" (M. Giry, Fauvism, Origins and Development, New York, 1981, p. 164).
Almost all paintings by Vlaminck from this period have the same seductive strength. They are the result of an especially happy, unconstricted phase of painting, which clearly attest to the wild, Nordic temperament of the artist in the tradition of Van Gogh and at the same time consolidate his mission as a Fauve. 'Painting. I wanted it to be alive, emotional, tender, fierce, natural like life' (quoted in The Passionate Eye, Impressionist and other Master paintings from the Collection of Emil G. Bhrle, exh. cat., National Gallery of Art, Washington, D.C., 1990, p. 77).
In April 1906, Ambroise Vollard purchased the entire contents of Vlaminck's studio for 6,000 francs, which enabled Vlaminck to devote himself entirely to his work. In 1900, Vlaminck had met Drain and together they shared a studio on the Ile-de-Chatou. During the summer months of 1906, while his artist friends left to paint in coastal locations--Matisse to Colloiure, Marquet and Dufy to Normandy, Drain to England and L'Estaque--Vlaminck stayed in the vicinity of the Seine, painting in Chatou, Bougival, Argenteuil and Le Pecq.
Vlaminck's use of intense color corresponded to his own exuberant nature and epitomized the Fauve movement. Guillaume Apollinaire wrote of Vlaminck in the Revue des Lettres et des Arts, "M de Vlaminck has a Flemish sense of joy. His painting is a Kermesse" (quoted in M. Sauvage, Vlaminck, sa vie et son message, Geneva, 1956, p. 25).
In the paintings of 1906 Vlaminck did not make any attempt to change his style of expression from the previous years. He believed firmly that he was on the right course and he tried only to perfect his idiom in order to better express his inner feeling of expression. However, there was a certain calming effect found in the composition and brushwork of Vlaminck, although some inner tension was still evident. "There was no conflict between his inspiration and his skill: the idiom remained very simple, flexibly adapted to the artist's lyricism . . . The color became daring and arbitrary and above all, predominant, that is to say it was the soul of the pictures, it was light and space: the paint itself was applied more lightly, in supple, clear, dynamic brushstrokes of tremendous variety" (M. Giry, Fauvism, Origins and Development, New York, 1981, p. 164).
Almost all paintings by Vlaminck from this period have the same seductive strength. They are the result of an especially happy, unconstricted phase of painting, which clearly attest to the wild, Nordic temperament of the artist in the tradition of Van Gogh and at the same time consolidate his mission as a Fauve. 'Painting. I wanted it to be alive, emotional, tender, fierce, natural like life' (quoted in The Passionate Eye, Impressionist and other Master paintings from the Collection of Emil G. Bhrle, exh. cat., National Gallery of Art, Washington, D.C., 1990, p. 77).