(Paris 1876–1958 Rueil-la-Gadelière) Rue de Village. Circa 1912. Oil on canvas. Signed lower left: Vlaminck. 60 × 73 cm. The authenticity of the work has been confirmed by the Wildenstein Institute, Paris, 17.9.2015 (a copy of the certificate is available). Provenance: Swiss private collection. Chatou, a small town 10 km west of Paris, was Maurice de Vlamincks favourite place to paint throughout his life. One day in the summer of 1900, as he was travelling by train towards Paris, the train derailed and Vlaminck had to make his way home on foot. On the way he met the painter André Derain, who happened to be on the same train to Paris. From this chance encounter, a lifelong friendship developed. It is probably thanks to André Derain that Maurice de Vlaminck turned to painting. From 1907, as Vlaminck began to spend more time in Paris, the Fauvist painting he had practised with Derain was gradually supplanted by the influence of other styles. The greatest influence during this period was probably that of Cézanne, whose important retrospective at the Salon dAutomne greatly impressed and captivated Vlaminck. He was enthusiastic about Cézannes intensive brushwork and his rendering of light, and adopted his palette with its accentuated green and blue tones. He moved away from Fauvism, whose limits he had explored, towards a new interpretation of space. Vlamincks works took on a new dimension he expertly combined the objectivity of the pictorial composition with a new gentle and sensitive application of paint. MAURICE DE VLAMINCK (Paris 1876–1958 Rueil-la-Gadelière) Rue de Village. Um 1912. ?l auf Leinwand. Unten links signiert: Vlaminck. 60 × 73 cm. **Authentizit?t des Werks wurde vom Wildenstein Institut best?tigt, Paris, 17.9.2015. (Gutachten in Kopie vorhanden) Provenienz: Schweizer Privatbesitz. Für Maurice de Vlaminck ist Chatou, ein St?dtchen 10 km westlich von Paris, zeitlebens der bevorzugte Malort. Als er eines Tages im Sommer 1900 mit dem Zug Richtung Paris f?hrt, entgleist dieser, und Vlaminck muss den Heimweg zu Fuss zurücklegen. Auf dem Fussmarsch lernt er den Maler André Derain kennen, der zuf?llig im selben Zug Richtung Paris gesessen hat. Aus dieser unverhofften Begegnung entwickelt sich eine lebenslange Freundschaft. Es ist wohl André Derain zu verdanken, dass sich Maurice de Vlaminck der Malerei zuwendet. Ab 1907 verbringt Vlaminck seine Zeit wieder vermehrt in Paris,**fauvistische Malerei,**er mit Derain in Chatou entwickelt hat, rückt in den Hintergrund. Neue Stilrichtungen beeinflussen seine künstlerische Weiterentwicklung. Der st?rkste Impulsgeber in dieser Zeit ist wohl Cézanne, dessen bedeutende Retrospektive im Salon dAutomne Vlaminck sehr beeindruckt und fesselt. Er ist von der intensiven Pinselführung und der Wiedergabe des Lichtes bei Cézanne begeistert und übernimmt dessen Palette mit akzentuierten Grün- und Blaut?nen. Er entwickelt sich weg vom Fauvismus, dessen Grenzen er ausgelotet hat, hin zu einer neuen Ausgestaltung des Raumes. Vlamincks Werke bekommen eine neue Dimension**Sachlichkeit des Bildaufbaues verbindet er mit einem neuen, sanften und sensiblen Farbauftrag virtuos zu neuen Kompositionen.
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