André Derain
André Derain (born June 10, 1880 in Chatou near Paris , † September 8, 1954 in Garches near Paris) was a French artist. Among other things , he created paintings , graphics , sculptures , stage sets and costumes, and his painting, in particular, has survived.
Along with Henri Matisse, Derain was the main representative of Fauvism and is counted among the first painters of Classical Modernism . For a time he was seen as the leading head of the French avant-garde and was also in close contact with the Cubists Picasso and Braque .
His departure from the discussion about modernity in the twenties sparked strong criticism.
Life
Early years
Derain was born in Chatou on June 10, 1880 . His father was a wealthy pastry chef and councilor. After attending the Saint-Croix school in Le Vésinet, he went to the Lycée Chaptal in Paris, where in 1898 he won a prize for drawing and one for science.
Derain turned to painting at an early age, and around the age of 15 he received some lessons from le père Jacomin, whose son was his classmate. Derain later admitted that he probably hadn't learned anything from these classes.
His parents intended to make him an officer or an engineer, and as a step towards achieving this goal, he was sent to the École des Mines in Paris .
The friends he made in Paris encouraged his artistic ambitions and stimulated his intellectual needs. These friends included the son of the symbolist poet Villiers de L'Isle-Adam , Linaret, a painter friend, and the Comte de la Noue, a young, eccentric Breton aristocrat.
Stays in Paris - Fauvism (1898–1907)
Derain attended the Académie Camillo on Rue de Rennes in Montparnasse from 1898 to 1899, where he was taught by Eugène Carrière .
The friendship with Maurice de Vlaminck , who was a few years older than Derain, caused a major change in his life . When they met they discussed the anarchist and the naturalist authors or Cézanne and Courbet and the " primitives ". It was the passion for the radical that shaped the topics of their conversations and that prompted Vlaminck, eager to challenge the past, to use pure primary colors for his paintings.
During a visit to the van Gogh retrospective at the Galerie Alexandre Bernheim (later Bernheim-Jeune) in 1901, he introduced Vlaminck to Henri Matisse , whom he had previously met while copying classical works in the Louvre . This was followed by a visit that Matisse paid to both young men in Chatou. Matisse reported: “The painting by Derain and Vlaminck did not surprise me, because it came very close to the studies I did myself.” Thus, the artists who a few years later brought about Fauvism were already together .
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In the autumn of 1901 Derain was called up for military service and was only able to continue his studies sporadically. In the following years he painted a number of decorations for the soldiers' quarters in Commercy, but these were immediately whitewashed again. He began a long correspondence with Vlaminck.
After completing his military service in 1904, Matisse persuaded Derain's parents, who had other plans for their son, to allow him to devote himself only to painting from now on. Derain enrolled at the Académie Julian , contrary to Vlaminck's advice . At the same time he expressed his interest in African art and in 1905 stayed with Matisse in Collioure . In the autumn of 1905 the work from Collioure was exhibited at the Salon d'Automne , whereupon the newspaper critic Louis Vauxcelles referred to the painters as Fauves .
Ambroise Vollard bought Derain's work and signed him. In 1905 and 1906 he visited London. During this time his most personal Fauvist works were created. In 1906, Derain became friends with Picasso , having previously made contact with Guillaume Apollinaire .
Today, the Chemin du Fauvisme in Collioure commemorates the origin of Fauvism there: reproductions of the paintings made there are placed in 20 places where the easels by Matisse and Derain stood.
Move to Paris - Cubism (1907–1914)
In 1907 he moved from Chatou to Paris, to the Les Fusains studio house , 22 rue de Tourlaque, Montmartre . During his years in Chatou he had met many of the younger members of the Montmartre circle. He especially loved the discussions at the restaurant and café tables and was in constant contact with Picasso , Braque , van Dongen and Vlaminck .
Derain signed an exclusive contract with the gallery owner Daniel-Henry Kahnweiler and was in close contact with Picasso when he started work on Les Demoiselles d'Avignon .
In the summer of 1909 he stayed with Braque in Carrières-Saint-Denis, and in 1910 with Picasso in Cadaquès (Spain). His father died in the fall of 1909. Three of his works were represented in the exhibition Manet and the Post-Impressionists .
In the following years the artist undertook further trips, including to Beauvais, Serbonne-sur-le-Grand Morin, to Camiers in Palais de Calais, to Vers in der Lot and in 1913 to Martigues.
First World War and the years after (1914–1921)
Derain was in Montfavet with Braque and Picasso when the war broke out and was called to arms. He served in a motorized unit in Champagne, Somme , Verdun , L'Aisne and the Vosges. During his life as a soldier he made illustrations for André Breton's Mont-de-Pieté and exhibited in the Paul Guillaume Gallery in Paris in autumn 1916 .
Shortly after his discharge from the army, Derain made his debut in the theater and ballet world. Diaghilev commissioned him to design the sets, curtains and costumes for La Boutique Fantasque - music by Rossini , choreography by Massine . It premiered on June 5, 1919 at the Alhambra Theater, London.
Kahnweiler, who returned to Paris in 1920, bought Derain's work again until 1922. From 1921 to 1922 Derain stayed in Rome and in 1923 received from Jean Renoir in return for a portrait - Derain painted his wife - four small pictures of his father Auguste Renoir .
Years of Criticism (1922-1939)
Towards the end of the twenties, in which he received the Carnegie Prize for Nature morte: La Chasse in 1928, among other things , the years of criticism against him began, which can be seen in the book Pour ou Contre Derain . Although various painters and critics defended him in this publication, the case of the indictment was brought forward by Pierre Courthion and Jacques-Emile Blanche: “Faith and vehemence, as evidenced in his early attempts, seem to be replaced by the indifference of a skeptic who is overwhelmed became through his knowledge of too many masterpieces that he has seen in museums and collections. "
Derain gradually began to withdraw from Parisian life, a tendency that had increased since moving into his house in Chambourcy in 1935, which remained his home until his death. What exactly happened during this time is by no means easy to determine. It appears that some entrenchment has taken place.
In 1930 he exchanged his African art objects for Greco-Roman and Egyptian-Roman portraits. In 1931 the exhibition New Painting by Derain took place at the Lefevre Gallery in London. In 1933 he sold another part of his collection of African art.
The Kunsthalle Bern organized the first major retrospective of his work in 1935 . In the 1930s the artist received numerous commissions from the Paris Opera for costumes and decorations, including illustrating Les Héroides by Ovid in 1932 and Salomé by Oscar Wilde in 1938 . In 1937 he took part in the retrospective exhibition of the Indépendants in Paris.
Second World War and the years after (1940–1954)
In the early 1940s, Derain worked mainly in Donnemarie-en-Montois, in Vichy in 1940 and on the Loire in 1941, and returned to Chambourcy after the liberation from German occupation in 1944.
During the occupation of France in World War II , Derain was flattered by the German occupiers as a representative of French culture. In 1941 he and other French artists went on a trip to Berlin organized by the authorities. There he visited, among other things, the Arno Brekers studio , who at that time was a main representative of so-called German art . The Nazi propaganda repeatedly referred to this trip. Why Derain started the trip is not clear. There are sources that state that the National Socialists threatened him with the destruction of his studio if he did not start his trip.
Derain's radical departure from the stylistic and conceptual concerns of the French avant-garde reached its climax. In 1944 he turned down the offer to become director of the École nationale supérieure des beaux-arts de Paris , the most important academy of fine arts in France. After the liberation, Derain was viewed and ostracized by many French as a collaborator . In post-war France there were initially no public exhibitions of his works.
Derain died in 1954 in the Hauts-de-Seine department . Alberto Giacometti , who was a friend of Derain , was the only well-known artist to attend his funeral.
Picturesque work
In the years shortly before and after World War I, Derain was viewed by many connoisseurs as a leading, if not the leading, member of the French avant-garde and the mainstay of the national tradition. However, since the twenties at the latest, his work has shown the return - and thus the departure from the mainstreams of his time - to a more traditional view. His work testifies to the knowledge of the most diverse styles; u. a. African, Cypriot, Hellenic and Roman art, Italian painting of the Trecento and Quattrocento , the 15th century French school, Breughel , the Venetians, El Greco , Caravaggio , Peter Paul Rubens , the 17th century Dutch and Spanish masters and closer our time, Delacroix , Corot , Courbet , Manet , Renoir and Cézanne contributed to his art. What is striking about these years is that he oscillated back and forth between two points of view, a realistic and an idealistic.
In relation to the two most important painters of the French avant-garde, Picasso and Matisse , with whom he was in close contact during his various creative periods, Derain formed a purifying element in his later years with his clear departure from the trends of his time - a linearization of the pictorial elements Element. As one of the main exponents of Classical Modernism at the time , he sought the path through contact with his predecessors, which in his view should be continued with responsibility towards tradition.
Early work (1898–1904)
Derain's early works were landscapes in the Corot manner , and the first dated images from this period, such as The Road to Carrières , reveal a possible knowledge of Cézanne and Gauguin . On the other hand, The Funeral , which is dated around 1899, reveals his appreciation of Manet and his preference for those animated figures who from now on often appear in his paintings. Above all, however, Derain had now embarked on a study of old masters in the Louvre , and here he also copied, among other things, Christ Carrying the Cross , which was then ascribed to Ghirlandajo , a copy from which he never parted during his life. During this time (1901) he met Matisse for the first time in the Louvre.
Fauvist period (1904-1907)
- Main article: Fauvism
Cubist period (1907-1911)
- Main article: Cubism
Dissatisfaction with Fauvism was already expressed in 1906 and in the following year it becomes even clearer that his interest in "pure" color was fading. During this time, like so many of the avant-garde, he shared his enthusiasm for African art . Cézanne's work also exerted a strong influence on him in those years, of which he saw 33 pictures in the Salon d'Automne in 1904 . A return to Cézanne's style can be seen in interiors with still lifes .
| Cadaques |
|---|
| André Derain , 1910 |
| Oil on canvas |
| 60.5 × 73 cm |
| Art Museum, Basel
Link to the picture |
Through his contact with Picasso and Braque , Derain was in close contact with their founders at the moment when Cubism was developing, but he never completely gave himself up to Cubism. He was already dissatisfied with his Cubist advance, the wildness of which was not in harmony with his own nature, and in 1908 destroyed all those works which he was reluctant to represent. In his book Der Weg zum Kubismus from 1920, Kahnweiler reports that Derain created “a whole series of compositions with life-size figures. He exhibited some of them in the Indépendants - such a bull, a picture with bathers. Fortunately, the bathers were bought and have remained with us. Derain burned all the others in 1908. "
Although Derain did not want to follow the path of the Cubists, he initially took into account the trend towards simplification and abstraction, which can be seen in Paysage à Cassis , among other things . On the other hand, his special peculiarity and point of view become clear in Martigue's picture , in which, in accordance with the classic formula, he leads the eye far into the distance.
Derain's uncertainty as to which path to take arose from his extreme sensitivity to the atmosphere, to the limits and problems of his time. Derain's view that adopting a certain attitude is ridiculous led him to part with friends Picasso and Braque and to reject Cubism. He was of the opinion that direct colorism - in the sense of Fauvism - was not enough and, on the other hand, was not prepared to completely indulge in the new style of Cubism. At this stage Cézanne's work offered him a way out, which he embraced with great enthusiasm. The difference between his intentions and those of those painters who thought further in the direction of their exploration of spatial relations are shown in the works he painted in Cagnes in 1910. The influence of Cézanne is still resounding, especially in the paintings of Cagnes and Le Vieux Pont à Cagnes .
Gothic period (1911-1914)
In 1911 there was a change in style. A characteristic of this is the task of the construction phase, as shown, for example, in La route de Camiers . The elements that shaped Derain's style in that period were extraordinarily complex and even contradictory. As in previous years, he was extremely receptive to everything that was going on around him and just as eager to face the past. He examined not only Romanesque , Gothic and Renaissance art , but also Indian and Byzantine art. The years 1911–1914 are often called his période gothique ( Gothic period ).
Derain's intentions during these years boiled down to resolving the conflict between two elements: the instinctive quality of primitivism - seen as a means of renewing sources of inspiration - and a constructivism, in connection with Cézanne - as a means of improving the physical appearance of the " Objects ”or nature. It is noticeable that, not only in this phase, but also in the future, he tried to keep his balance between extremes. The conflict between these two poles of his nature allowed him to develop a style of his own which enabled him to portray his belief in both lasting inspiration from nature and the emotional forces of human life.
| Chevalier X |
|---|
| André Derain , 1914 |
| Oil on canvas |
| 160.5 × 96 cm |
|
Hermitage , St. Petersburg
Link to the picture |
The images emphasize the synthetic means Derain used to express himself at different times in his life. His use of old master formulas allowed him to come up with a style that was uniquely fresh and appealing. Reveals the valley near Morin a transitional stage in which the spirit of Cézanne is alive, it can be seen, however, in the painting Chevalier X. influence of Rousseau . Chevalier X. in turn influenced artists such as Modigliani and Giacometti . Derain also drew on religious themes during these years, for example in The Calvary or The Last Supper , and painted a number of different and brilliant compositions, from The Violin and the series of pictures with tobacco pots with their cubist iconography and narrow color gamut to the outstanding Cézanne's still life from the Chester Dale Collection, Washington, or the more traditional hunting still life La Gibecière .
Derain provided woodcuts in the style of primitivism for an edition of Guillaume Apollinaire 's first prosaic work, L 'enchanteur pourrissant (1909), showed works in the Neue Künstlervereinigung in Munich in 1910, in the Blauer Reiter in 1912 , in the Armory Show in New York and in 1913 1912 also illustrated a collection of Max Jacobs' poems . At this time Derain's work was already beginning to reflect his studies of old masters.
War years (1914–1922)
In 1914 Derain returned to figurative painting. Works like Le Deux Soeurs , La jeune fille were created . In works like Le samedi there are clear echoes of the art of the Trecento . In his desire to achieve a "return to order" - as a counterbalance, for example, to the anarchist and anti-artistic direction of Dadaism - Derain found himself in step with some of the most important personalities of his time - such as Picasso and Cocteau . There was a general call for a return to order in those days.
Another change in style (1922–1954)
Derain's renewed change in style may have been caused by his visit to Rome in 1921–1922. The artist took a particularly close look at Roman and Fayum portraits , Pompeian and Roman mosaics, among other things , in order to incorporate other classical themes into his work. For him, as for a Poussin , the visit to Rome possibly strengthened the decision to build on tradition. Derain took the position that the present is anyway the echo and survival of the past. In 1948 he said: “The intelligentsia, the old, knew how to paint a glass of wine. They were really intelligent, they understood things in their depths, not just an intelligent sight like Matisse's . Nowadays everyone can be very intelligent, it's too easy, that's why you no longer know what it is, this way of feeling things. "
From 1920 until his death, an attempt to track down his stylistic development for an understanding of his painting is not very productive. He treated his subjects according to the character of their subject or the mood of the moment and confessed to Florent Fels that works of art are created for the environment in which they were conceived.
| La table de cuisine |
|---|
| André Derain , 1925 |
| Oil on canvas |
| 119 × 119 cm |
| Musée de l'Orangerie, Paris
Link to the picture |
In the years to come Derain fluctuated noticeably between a realistic - as in La Table de Cuisine - and an idealistic manner - as in Pierrot et Harléquin . In the main works of this period, Derain's goal is evident, to summarize the results of various experiments in a comprehensive picture - a synthesis. His sense of volume, his care in the arrangement of the forms, always relating one to the other, put him at this stage close to Zurbarán and Caravaggio . What is striking about Derain is that within a limited creative period, around 1923–1925, he used a wide variety of painterly means in one and the same subject - for example in the still life. So subject La Table de Cuisine a clearer and firmer compositional structure, which is a "dry" color based. Vase de roses, assiette et pipe , on the other hand , shows clearly sweeter features and is more reminiscent of Renoir's influence , and again in Un Vase de Fleurs his painting style reminds us that he is a compatriot of Delacroix and Courbet .
| Portrait of Madame Guillaume |
|---|
| André Derain , 1929 |
| Oil on canvas |
| 92 × 73 cm |
| Musée de l'Orangerie, Paris
Link to the picture |
If you look at the nudes created during this period, Derain's models have a substance, an earthiness or a fairy-like quality that is unparalleled in modern painting, for example in Nu au chat or Le Beau Modèle . In his portraits, he shows his ability to tackle objects that are generally considered to belong to academic artists. This ability is expressed in Geneviève or Madame Guillaume .
But he gave the full measure of his abilities in the many landscapes that date from these years. In La Basilique de St. Maximin you can see his obligation to Corot . Derain's intuitive sense of nature, on the other hand, which is so clearly evident in La Clairière with its strongly impasto mixture of green, blue and brown tones, goes back to Courbet and Cézanne , and Hans Tietze remarks on Le gros arbre : “This representation reveals itself more than ever, the intimate connection between the artist and the classical ideal of the classical form and the classical style of painting, which he places at the service of its high artistic talent [...] he is currently the only major painter who the tradition of Renaissance continues . "
Derain was certain that his art and position would be misjudged unless his thoughts on the problems of the twentieth century were taken into account. He explained: “I am not committed to any principle - other than that of freedom - but my idea of freedom is that it must be linked to tradition. I don't want to propose any theories about what to do in art. I just paint as best I can. The shame is that there are far too many theories around and not enough passion to bring them to life. "
reception
Testimonies from contemporaries
Derain's early decorative style was idolized in England. Roger Fry expressed in the exhibitions of the Grafton Galleries, London, in 1910 and 1911 that the "spirit of Poussin " seemed to be revived in Derain's painting .
In a speech he gave on the occasion of an exhibition in Derain in October 1916, Paul Guillaume described Derain as a man who, after being wildly young, had managed to turn to moderation and measure. He saw in Derain's work a daring and disciplined temperament that had succeeded in realizing an order and that expressive greatness that he called antique.
In Since Cézanne in 1922 , Clive Bell praised Derain's tremendous strength of character and the ability to stand alone. In his eyes it was Derain's intention to create something that as a work of art is uncompromising and yet at the same time humane. He sees him as the representative for something “that is extremely lively and binding in France - a passionate love for great tradition, a desire for order and the will to win that mysterious thing that the Athenians σπουδαιότης and the schoolmasters very serious call."
Alberto Giacometti commented on Derain's work in Derrière le miroir in 1957 :
“All laws, all certainties, valid for at least the majority of today's painters, if not for all, even for the abstracts , even for the Tachists , no longer made sense for him; So where to find the means to express yourself. A red is not a red - a line is not a line - a volume is not a volume, everything is contradicting one another, a bottomless abyss in which one loses oneself. "
aftermath
Derain a realist with a strange naiveté, one was Frondeur , a man of the Renaissance and with rare appetites equipped. Derain once said, “that everyone should find the wine that gets them, that there is a wine for every palette.” And when asked whether he had found his, he replied: “Non”. At critical moments in his career, his rejection of some of the main aspirations of his time - cubism and abstraction - was the result of a carefully considered personal point of view. He refused to trim his sails with fashion in mind. Most of the books or essays dealing with Derain's work appeared at a time when he was still the lion of the Parisian scenery.
The artist's works are exhibited in Paris, London, New York and Prague, among others. Many of his pictures are not publicly available. Some were shown posthumously at documenta 1 ( 1955 ), documenta II ( 1959 ) and documenta III in 1964 in Kassel . While his work received no further attention for a long time, it has been increasingly appreciated in numerous exhibitions since the turn of the millennium. In the important Cézanne exhibition Aufbruch in die Moderne in the Folkwang Museum in Essen at the turn of the year 2005, some of Derain's paintings from his Fauvist and Cubist phase were shown for the first time in Germany.
Exhibitions
- 1962: André Derain, 1880–1954, the sculptural work : Galerie Prestel (Peter Voigtlaender-Tetzner), Frankfurt am Main.
- 2017/18: André Derain 1904–1914. La décennie radicale. Center Georges-Pompidou , Paris, October 4, 2017 to January 29, 2018
Work (selection)
painting
Early work
- Self-portrait ( autoportrait ), between 1895 and 1899, oil on canvas, Ambroise Vollard Collection , Paris Fig.
- The Road to Carrières ( La Route de Carrières ), 1899, oil on canvas, 48 × 64 cm, private collection, Paris
- The Funeral ( L'Enterrement ), 1899, oil on canvas, Madame Matisse Collection, Paris
- The Ball of Suresnes ( Le Bal à Suresnes ), 1903, oil on canvas, 176 × 168 cm, City Art Museum, Saint Louis, USA Fig.
- Snow landscape near Chatou ( Paysage de neige à Chatou ), around 1904, oil on canvas, 81 × 61 cm, private property, Paris
- The Bridge of Le Pecq ( Le Pont du Le Pecq ), 1904, oil on canvas, 81 × 116 cm, private collection, Paris
- Portrait of Bartolomeo Savona, Genesis ??, oil on canvas, Barber Institute of Fine Arts, Birmingham
- The Table, 1904, oil on canvas, Emil Bührle's Collection Fig.
- Rebland in Spring ( Les vignes au printemps ), around 1904–1905, oil on canvas, Kunstmuseum Basel
Fauvist phase
- Portrait of Henri Matisse ( Portrait de Henri Matisse ), 1905, oil on canvas, Tate Collection
- Collioure, 1905, oil on canvas, 72 × 91 cm, Musée d'Art moderne, Troyes, Donation Pierre et Denise Lévy.
- Fishing Boats at Collioure, 1905, oil on canvas, The Philip L. Goodwin Collection Fig.
- His at Chatou, 1906, oil on canvas, The William S. Paley Collection Fig.
- L'Estaque, 1906, oil on canvas, Museum of Modern Art, New York Fig.
- The Golden Age ( L'Age d'Or ), around 1905, oil on canvas, 190 × 180 cm, private collection, New York
- The Dance ( La Danse ), around 1905–1906, oil on canvas, 185.4 × 228.2 cm, private collection, New York Fig.
Stays in London
- The Parliament in London ( Le Big Ben ), 1905–1906, oil on canvas, 79 × 98 cm, Musée d'Art moderne, Troyes, Donation Pierre et Denise Lévy. Fig.
- Charing Cross Bridge, London, 1905–1906, oil on canvas, Museum of Modern Art, New York Fig.
- Charing Cross Bridge, London, 1906, oil on canvas, John Hay Whitney Collection fig.
- Charing Cross Bridge / Bridge of Westminster, 1906, oil on canvas, Musée d'Orsay, Paris
- View of the Thames, 1906, oil on canvas, Collection of Mr. and Mrs. Paul Mellon Fig.
- London Bridge, 1906, oil on canvas, Museum of Modern Art, New York Fig.
- Hyde Park ( Hyde Park ), around 1906, oil on canvas, 66 × 99 cm, Musée d'Art moderne, Troyes, Donation Pierre et Denise Lévy. Fig.
- Regent Street, London, 1906, oil on canvas, 66 × 99.1 cm, Jacques and Natasha Gelman Collection Fig.
- The Port of London ( le port de Londres ), 1906, oil on canvas Fig.
- Cityscape of London , 1908, Switzerland, private property
Cubist phase
- Landscape near Cassis ( Paysage à Cassis ), around 1907, oil on canvas, 73 × 92 cm, private collection, Paris
- The Bathers ( Les Baigneurs ), 1908, oil on canvas, 180 × 225 cm, owner unknown
- The old bridge to Cagnes ( Le Vieux Pont à Cagnes ), 1910, oil on canvas, 81.3 × 99.6 cm, National Gallery of Art, Washington DC (Chester Dale Collection) Fig.
- Cadaquès, 1910, oil on canvas, 60.5 × 73 cm, Kunstmuseum, Basel Fig.
- Cagnes, 1910, oil on canvas Fig.
- Still life ( Nature morte ), 1910, oil on canvas, 92 × 71 cm, private collection, Paris
- Still Life ( Still Life with Earthenware Jug and White Napkin ), 1912, oil on canvas, Hermitage , St. Petersburg Fig.
- Houses by the river ( Houses on the waterfront ), 1910, oil on canvas, Hermitage Museum , St. Petersburg fig.
- Table and chairs ( table and chairs ), 1912, oil on canvas, Hermitage Museum , St. Petersburg fig.
Gothic period
- The road to Camiers ( La route de Camiers ), 1911, oil on canvas, 72.3 × 91.5 cm, owner unknown
- Church to Verse ( L'Eglise de Vers ), 1912, oil on canvas, 66 × 94 cm, private collection, Oxford
- Valley of the Lot at Vers, 1912, oil on canvas, Abby Aldrich Rockefeller Fund fig.
- Der Wald ( La Forêt ), 1912, oil on canvas, 40 × 47 cm, private collection, Bern
- The Calvary ( Le Calvaire ), 1912, oil on canvas, 65 × 57.5 cm, Kunstmuseum, Basel Fig.
- Young girl ( La jeune fille ), 1914, oil on canvas, 65 × 50 cm, in the possession of Pablo Picasso , Paris
- Portrait of Iturrino, 1914, oil on canvas, 92 × 65 cm, private collection, Alpes-Maritimes
- Hunting Still Life ( La Gibecière ), 1913, oil on canvas, 116 × 81 cm, Musée de l'Orangerie, Paris, Jean Walter and Paul Guillaume Collection
- View of Martigues ( Martigues ), 1913, oil on canvas, 141 × 90 cm, Hermitage , St. Petersburg Fig.
- Still life ( Nature morte ), 1913, oil on canvas, Hermitage , St. Petersburg Fig.
- The Two Sisters ( Les Deux Soeurs ), 1914, oil on canvas, 195.5 × 130.5 cm, Statens Museum, Copenhagen
- The Last Supper ( La Cène ), 1913, oil on canvas, 220 × 280 cm, The Art Institute, Chicago
- Der Saturday ( Le Samedi ), 1911–1914, oil on canvas, 181 × 228 cm, former Soviet collection
- Chevalier X., 1914, oil on canvas, 163 × 97 cm, Hermitage , St. Petersburg
- Still life in front of the window ( Nature morte devant la fenêtre ), 1913, oil on canvas, 128 × 79 cm, former Soviet collection
Late work
- Landscape in southern France ( Landscape in southern france ), 1917-1923, oil on canvas, Museum of Fine Arts, Boston
- The artist in the studio ( L'Artiste et sa famille ), 1920–1921, oil on canvas, 116 × 89 cm, Pierre Matisse Gallery, New York
- Road to Albano ( La Route d'Albano ), 1921, oil on canvas, 62 × 50 cm, private collection, Paris Fig.
- Still Life, 1923, oil on canvas, Art Gallery of New South Wales
- Flower piece ( Un Vase de Fleurs ), around 1924, oil on canvas, 61 × 93 cm, private collection, Zurich
- Still Life ( La Table Garnie ), 1921–1922, oil on canvas, 97.1 × 163.2 cm, private collection, London
- Still life with roses, plate and pipe ( Vase de roses, assiette et pipe ), around 1923–1925, oil on canvas, 18 × 24 cm, private collection, Basel
- The beautiful model ( Le Beau Modèle ), 1923, oil on canvas, 114 × 91 cm, Musée de l'Orangerie, Paris, Jean Walter and Paul Guillaume Collection Fig.
- Harlequin ( Arléquin ), around 1924, oil on canvas, 73.6 × 61 cm, National Gallery of Art, Washington, DC (Chester Dale Collection)
- Nude with a cat ( Nu au chat ), 1921–1923, oil on canvas, 166 × 88 cm, private collection, Paris
- Pierrot and Harlequin ( Pierrot et Harléquin ), 1924, oil on canvas, 176 × 176 cm, Musée de l'Orangerie, Paris, Jean Walter and Paul Guillaume Collection Fig.
- The kitchen table ( La Table de Cuisine ), 1925, oil on canvas, 120 × 120 cm, Musée de l'Orangerie, Paris, Jean Walter and Paul Guillaume Collection Fig.
- Landscape, circa 1928, oil on canvas, Art Gallery of New South Wales
- Still Life: The Hunt ( Nature morte: La Chasse ), around 1928, oil on canvas, 196 × 132 cm, Carnegie Institute, Pittsburgh
- Large Nude ( Grand Nu ), 1928–1929 , oil on canvas, 92 × 73 cm, private collection, Geneva
- Still life: melons and fruits, around 1927, oil on canvas, Musée de l'Orangerie, Paris, Jean Walter and Paul Guillaume Collection Fig.
- The big tree ( Le gros arbre ), 1929–1930, oil on canvas, Musée de l'Orangerie, Paris, Jean Walter and Paul Guillaume Collection Fig.
- Profile of a Woman with a Chignon, ca.1930, oil on canvas, Indiana University Art Museum, Bloomington
- Geneviève, 1931, oil on canvas, 110 × 76 cm, Musée de l'Orangerie, Paris, Jean Walter and Paul Guillaume Collection Fig.
- The Basilica of St. Maximin ( La Basilique de St. Maximin ), 1930, oil on canvas, 60 × 73 cm, Musée National d'Art Moderne, Paris
- Still Life with Oranges ( Nature morte aux oranges ), 1931 , oil on canvas, Center Georges Pompidou, Paris Fig.
- Still life with fruits ( Nature morte aux fruits et couteau ), oil on canvas
- The clearing ( La Clairière ), 1931, oil on canvas, 50 × 62 cm, Musée de l'Orangerie, Paris, Jean Walter and Paul Guillaume collection
- Portrait of Paul Guillaume, 1919–1920, oil on canvas, Musée de l'Orangerie, Paris, Jean Walter and Paul Guillaume Collection Fig.
- Portrait of Madame Paul Guillaume, 1928–1929, oil on canvas, Musée de l'Orangerie, Paris, Jean Walter and Paul Guillaume Collection Fig.
- Vase of Flowers ( Fleurs dans un Vase ), 1932, oil on canvas, 75 × 95.3 cm, National Gallery of Art, Washington, DC (Chester Dale Collection)
- The surprise ( La Surprise ), 1938. Oil on canvas, 140 x 306 cm, private collection, New York
- Deer hunt ( La Chasse aux Cerfs ), around 1938, oil on canvas, 198 × 161 cm, from 1938 to 1957 in the Winterbotham Collection of the Chicago Art Institute
- Still Life with Rabbits, 1938, oil on canvas, Center Georges Pompidou, Paris Fig.
- The artist with his family ( Le Peintre et sa Famille ), around 1939, oil on canvas, 174 × 124 cm, private collection, Paris
- Femme épluchant des fruits, 1938–1939, oil on canvas, 92 × 74 cm Fig.
- Still life ( Nature morte ), 1938–1939, oil on canvas, 95 × 130 cm, Musée d'Art moderne, Troyes, Donation Pierre et Denise Lévy.
- Still life with fruits and flowers ( Nature morte aux fruits et feuillages ), around 1945, oil on canvas, 114 × 143, Musée d'Art moderne, Troyes, Donation Pierre et Denise Lévy.
- Landscape near Donnemarie ( Paysage de Donnemarie ), around 1940, oil on canvas Fig.
- Still life on a black background ( Nature morte fond noir ), around 1945, oil on canvas, 97 × 130 cm, Musée d'Art moderne, Troyes, Donation Pierre et Denise Lévy.
- Landscape on the banks of the Loire ( Paysage sur les bords de la Loire, à Ousson ), around 1942, oil on canvas, 65 × 92 cm, Musée d'Art moderne, Troyes, Donation Pierre et Denise Lévy.
- Amiens, around 1946, oil on canvas, 90 × 109 cm, Musée d'Art moderne, Troyes, Donation Pierre et Denise Lévy.
- Gloomy landscape ( Paysage Triste ), around 1946, oil on canvas, 36 × 40 cm, Musée d'Art moderne, Troyes, Donation Pierre et Denise Lévy.
- The Bacchantes ( Les Bacchantes ), canvas, 50 × 61 cm, around 1945 , Musée d'Art moderne, Troyes, Donation Pierre et Denise Lévy.
literature
- Pierre Assouline : The man who sold Picasso - Daniel-Henry Kahnweiler and his artists. Gustav Lübbe Verlag, Bergisch Gladbach 1990, ISBN 3-7857-0579-4 .
- Elizabeth Cowling, Jennifer Mundy: On Classic Ground: Picasso, Léger, de Chirico and the New Classicism 1910–1930 , London, Tate Gallery 1990. ISBN 1-85437-043-X
- Denys Sutton: André Derain . Phaidon-Verlag, Cologne 1960
- D. H. Kahnweiler: Path to Cubism , 1920
- Gaston Diehl: André Derain , Bonfini Press, 1977
- Marcel Giry: Der Fauvismus , Office du Livre, Friborg, and Edition Georg Popp, Würzburg, 1981
- Michel Kellermann: André Derain . Catalog raisonne de l'oeuvre peint. Vol. 1-3, Paris, 1992/2000
- Wolfgang Maier-Preusker : École de paris. Cat.No. 30–48, Vienna 2005.
- Musée d'Art moderne, Troyes, catalog, Donation Pierre et Denise Lévy.
- Musée de l'Orangerie, catalog of the Jean Walter and Paul Guillaume collection, Paris 1987, ISBN 2-7118-2077-7
Web links
- André Derain at Google Arts & Culture
- Literature by and about André Derain in the catalog of the German National Library
- Materials by and about André Derain in the documenta archive
- André Derain at artcyclopedia.com (engl.)
- Selection of works at The Museum of Modern Art, New York (engl.)
Individual evidence
- ^ Daniel Henry (Kahnweiler): Young Art - André Derain , Verlag von Klinkhardt & Biermann, 1920, Leipzig, p. 11 ff.
- ^ André Derain , guggenheim.org, accessed on November 1, 2016
- ↑ A photo gallery of the reproductions on display: Archived copy ( Memento of the original from January 26, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ Pour ou Contre Derain: Les Chroniques du Jour , January 1931. Special issue dedicated to Derain with contributions by G. Rouault, P. Courthion, A. Farcy, Waldemar George, André Salmon, MG Michel, R. Brielle etc.
- ↑ Works on View, André Derain ( Memento from January 25, 2008 in the Internet Archive ), Guggenheim Hermitage Museum.
- ↑ Reinhold Hohl : Life Chronicle , In: Angela Schneider: Giacometti , p. 32
- ↑ a b c d e f g h i j k l m n o p Denys Sutton, André Derain , Phaidon Verlag, Cologne, 1960, p. 5 ff.
- ↑ Florent Fels, Derain in Propos d'Artistes , 1925, pp. 37–43
- ↑ H.Tietze, Les expositions à Paris et ailleurs , in Les Cahiers d'Art no. 3, 1931, p 167
- ↑ Preface to the exhibition in Paul Guillaume ’s gallery in October 1916
- ↑ Clive Bell, "The Authority of M. Derain" in Since Cézanne , 1922
- ^ Alberto Giacometti, Derain in Derriere le Miroir , Galerie Maeght, 1957
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| personal data | |
|---|---|
| SURNAME | Derain, André |
| BRIEF DESCRIPTION | French painter |
| DATE OF BIRTH | June 10, 1880 |
| PLACE OF BIRTH | Chatou near Paris |
| DATE OF DEATH | September 8, 1954 |
| Place of death | Garches near Paris |