By displaying 12 of the major paintings from the series, André Derain: The London Paintings aimed to reassess his remarkable achievement. After the war, Derain won new acclaim as a leader of the renewed classicism then ascendant. He displayed works at the Neue Künstlervereinigung in Munich in 1910,[11] in 1912 at the secessionist Der Blaue Reiter[12] and in 1913 at the seminal Armory Show in New York. The result was an extraordinary group of large-scale paintings which overthrew conventions with their unrestrained use of pure colour and exuberant brushwork. The subject of this landscape, London Bridge, was one of several bridges built across the River Thames as part of a larger movement at the turn of the 19th century to modernize the city center with grand new architectural projects and public works. Recent research into Derain’s previously little-known London sketchbook and his letters allow us to track the artist’s movements through the city as he sketched rapidly along the river, either in among the docks or else looking down from one of the bridges. In 1898, while studying to be an engineer at the Académie Camillo, he attended painting classes under Eugène Carrière, and there met Matisse. Art critic T. G Rosenthal: "Not since Monet has anyone made London seem so fresh and yet remain quintessentially English. Derain was sent to London by his art dealer Vollard to paint a series of London landscapes meant to rival Monet's. For the crater on Mercury, see. Vollard bought Derain’s London series in its entirety, 30 paintings in total of which 29 are known today, but did not exhibit them as a group. The exhibition was accompanied by a fully illustrated catalogue, reproducing all 29 paintings in the series together with essays by Jacqueline Munck, curator of the Musée d’Art Moderne de la Ville de Paris, John House, The Courtauld Institute’s Walter H. Annenberg Professor and Nancy Ireson a specialist on early twentieth century French art. Accordingly, Derain’s London paintings offer an unprecedented vision of the city. . The result was an extraordinary group of large-scale paintings which overthrew conventions with their unrestrained use of pure colour and exuberant brushwork. It was the era of photography. It’s not surprising that Derain’s art dealer was interested in views of London. [4] Following his release from service, Matisse persuaded Derain's parents to allow him to abandon his engineering career and devote himself solely to painting; subsequently Derain attended the Académie Julian. This was the first exhibition dedicated to these masterpieces of 20th century art and showed 12 of the most important works from galleries around the world together in one room. It also reveals that he spent time in the British Museum studying the ethnographic collections which were a source of inspiration for his Fauve paintings. © Copyright 2015-2020 The Courtauld Institute Of Art, MA Buddhist Art: History and Conservation, PgDip in the Conservation of Easel Paintings, Financial Support for International Students, Secondary and Sixth Form Online Workshops. Among the public collections holding works by André Derain are: "Derain" redirects here.
The previous year, Derain emerged as one of the most radical artists in Paris following the now famous exhibition at the Salon d’Automne where Derain and Matisse had first revealed their groundbreaking new approach to painting. This may have influenced us and played a part in our reaction against anything resembling a snapshot of life. Derain chose a variety of London subjects, including emblematic views of historical sights, such as the Palace of Westminster, and activity in the city’s parks and great streets. Sculpture: Nu debout (Standing Woman), 1907. Characterised by the liberation of colour from its representational function, fused with an overwhelming sense of creative energy, their work represented what Derain described as, a complete renewal of expression. In 1900, he met and shared a studio with Maurice de Vlaminck and together they began to paint scenes in the neighbourhood, but this was interrupted by military service at Commercy from September 1901 to 1904. With bold colors and compositions, Derain painted multiple pictures of the Thames and Tower Bridge. London Bridge is one of about 30 paintings Derain produced over his two-month stay, all depicting activity on or around the Thames.
Derain accepted an invitation to make an official visit to Germany in 1941, and traveled with other French artists to Berlin to attend a Nazi exhibition of an officially endorsed artist, Arno Breker. No matter how far we moved away from things, it was never far enough. [6] In March 1906, the noted art dealer Ambroise Vollard sent Derain to London to produce a series of paintings with the city as subject.
It considered the background to the commission, including Derain’s response to Monet, the searching experimental qualities of the technique, the choice of subject matter and the evidence provided by the sketchbook and letters.
[17], Self-portrait in studio, c.1903, oil on canvas, 42.2 × 34.6 cm, National Gallery of Australia, Pinède à Cassis (Landscape), 1907, oil on canvas, 54 × 65 cm, Musée Cantini, Marseille, André Derain, 1907, Paysage à Cassis, oil on canvas, 54 × 64 cm, Musée d'art moderne de Troyes, Landscape in Provence (Paysage de Provence), c. 1908, oil on canvas, 32.2 × 40.6 cm, Brooklyn Museum, Brooklyn, View of Cagnes, 1910, oil on canvas, Museum Folkwang, Essen, Germany, La Table (The Table), 1911, oil on canvas, 96.5 × 131.1 cm, Metropolitan Museum of Art, New York, The Last Supper, 1911, oil on canvas, 227.3 × 288.3 cm, Art Institute of Chicago, Window on the Park (La Fenêtre sur le parc), 1912, oil on canvas, 130.8 × 89.5 cm, Museum of Modern Art, Nature morte (Still Life), 1912, oil on canvas, 100.5 × 118 cm, The State Hermitage Museum, Saint Petersburg, Russia. André Derain French On view at The Met Fifth Avenue in Gallery 904 Commissioned by the art dealer Ambroise Vollard to emulate a series of earlier works by Monet, Derain made three trips to London in early March 1906, late March–mid-April 1906, and late January–early February 1907. Whereas earlier artists such as Monet and James Abbott McNeill Whistler had painted London through the haze of its rising blue-grey mist and smog, Derain offers us exhilaratingly bright, multicoloured views of the city, showered in golden light or else empathically constructed through bold contrasts of colour.
With the wildness of his Fauve years far behind, he was admired as an upholder of tradition. Derain set up his easel outdoors and went to work. Loggy and Alex’s friendship in Miami’s redeveloping Liberty Square is threatened when Loggy learns that Alex is being relocated to another community.
André Derain (1880-1954) came to London in 1906 to paint a series of works that would rival Claude Monet’s earlier celebrated views of the city. In 1905, French painter André Derain was commissioned by his art dealer Ambroise Vollard to paint views of London. He died in Garches, Hauts-de-Seine, Île-de-France, France in 1954 when he was struck by a moving vehicle. At Montmartre, Derain began to shift from the brilliant Fauvist palette to more muted tones, showing the influence of Cubism and Paul Cézanne. He experimented with stone sculpture and moved to Montmartre to be near his friend Pablo Picasso and other noted artists. With an English chic, somewhat striking.