André Derain

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André Derain
Derain in 1903
Born(1880-06-10)10 June 1880
Chatou, Yvelines,
Île-de-France, France
Died8 September 1954(1954-09-08) (aged 74)
Garches, Hauts-de-Seine, Île-de-France, France
EducationAcadémie Camillo, Académie Julian
Known forPainting, sculpture
MovementFauvism

André Derain (/dəˈræ̃/, French: [ɑ̃dʁe dəʁɛ̃]; 10 June 1880 – 8 September 1954) was a French artist, painter, sculptor and co-founder of Fauvism with Henri Matisse.[1]

Life and career

Early years

Derain was born in 1880 in

Cézanne's, Father Jacomin along with his two sons.[2] In 1898, while studying to be an engineer at the Académie Camillo,[3] he attended painting classes under Eugène Carrière, and there met Matisse. 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.[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.[5]

Fauvism

Le séchage des voiles (The Drying Sails), 1905, oil on canvas, 82 × 101 cm, Pushkin Museum, Moscow. Exhibited at the 1905 Salon d'Automne

Derain and Matisse worked together through the summer of 1905 in the

Thames and Tower Bridge. These London paintings remain among his most popular work. Art critic T. G Rosenthal: "Not since Monet has anyone made London seem so fresh and yet remain quintessentially English. Some of his views of the Thames use the Pointillist technique of multiple dots, although by this time, because the dots have become much larger, it is rather more simply the separation of colours called Divisionism and it is peculiarly effective in conveying the fragmentation of colour in moving water in sunlight."[8]

Charing Cross Bridge, London, 1906, National Gallery of Art, Washington, D.C.
La jetée à L'Estaque, 1906, oil on canvas, 38 × 46 cm

In 1907 art dealer Daniel-Henry Kahnweiler purchased Derain's entire studio, granting Derain financial stability. He experimented with stone sculpture and moved to Montmartre to be near his friend Pablo Picasso and other noted artists. Fernande Olivier, Picasso's mistress at the time, described Derain[9] as:

Slim, elegant, with a lively colour and enamelled black hair. With an English chic, somewhat striking. Fancy waistcoats, ties in crude colours, red and green. Always a pipe in his mouth, phlegmatic, mocking, cold, an arguer.

At Montmartre, Derain began to shift from the brilliant Fauvist palette to more muted tones, showing the influence of

Neue Künstlervereinigung in Munich in 1910,[12] in 1912 at the secessionist Der Blaue Reiter[13] and in 1913 at the seminal Armory Show in New York. He also illustrated a collection of poems by Max Jacob
in 1912.

Towards a new classicism

See also: Return to order

At about this time Derain's work began overtly reflecting his study of the

Old Masters. The role of color was reduced and forms became austere; the years 1911–1914 are sometimes referred to as his gothic period. In 1914 he was mobilized for military service in World War I and until his release in 1919 he would have little time for painting, although in 1916 he provided a set of illustrations for André Breton
's first book, Mont de Piete.

After the war, Derain won new acclaim as a leader of the renewed

Diaghilev, leader of the Ballets Russes.[15]
A major success, it would lead to his creating many ballet designs.

The 1920s marked the height of his success, as he was awarded the Carnegie Prize in 1928 for his Still-life with Dead Game and began to exhibit extensively abroad—in London, Berlin, Frankfurt, Düsseldorf, New York City and Cincinnati, Ohio.[9]

During the German occupation of France in

Nazi propaganda, and after the Liberation he was branded a collaborator and ostracized by many former supporters.[16]

A year before his death, he contracted an eye infection from which he never fully recovered. He died in

Île-de-France, France in 1954 when he was struck by a moving vehicle.[17]

Derain's London paintings were the subject of a major exhibition at the

Courtauld Institute from 27 October 2005 to 22 January 2006.[18]

Gallery

  • Self-portrait in studio, c. 1903, oil on canvas, 42.2 × 34.6 cm, National Gallery of Australia
    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
    Pinède à Cassis (Landscape), 1907, oil on canvas, 54 × 65 cm, Musée Cantini, Marseille
  • Paysage à Cassis, 1907, oil on canvas, 54 × 64 cm, Musée d'art moderne de Troyes
    Paysage à Cassis, 1907, 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
    Landscape in Provence (Paysage de Provence), c. 1908, oil on canvas, 32.2 × 40.6 cm, Brooklyn Museum, Brooklyn
  • Baigneuses (Esquisse), c. 1908, oil on canvas, 38 × 46 cm, Musée d'Art Moderne de la Ville de Paris
    Baigneuses (Esquisse), c. 1908, oil on canvas, 38 × 46 cm,
    Musée d'Art Moderne de la Ville de Paris
  • View of Cagnes, 1910, oil on canvas, Museum Folkwang, Essen, Germany
    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
    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
    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
    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. Reproduced in Du "Cubisme", 1912
    Nature morte (Still Life), 1912, oil on canvas, 100.5 × 118 cm, The State Hermitage Museum, Saint Petersburg, Russia. Reproduced in Du "Cubisme", 1912
  • Le Samedi, 1913–14, oil on canvas, 181 × 228 cm, Pushkin Museum, Moscow
    Le Samedi, 1913–14, oil on canvas, 181 × 228 cm, Pushkin Museum, Moscow
  • Portrait of a Girl in Black, 1913, Hermitage Museum
    Portrait of a Girl in Black, 1913, Hermitage Museum
  • Portrait of a Man with a Newspaper, 1911–1914, Hermitage Museum
    Portrait of a Man with a Newspaper, 1911–1914, Hermitage Museum
  • Nu debout, 1907 (Automne), limestone, 95 x 33 x 17 cm, Musée National d'Art Moderne
    Nu debout, 1907 (Automne), limestone, 95 x 33 x 17 cm, Musée National d'Art Moderne
  • Photograph of Derain published in Gelett Burgess, "The Wild Men of Paris", Architectural Record, May 1910. Sculpture: Nu debout (Standing Woman), 1907
    Photograph of Derain published in Gelett Burgess, "The Wild Men of Paris", Architectural Record, May 1910. Sculpture: Nu debout (Standing Woman), 1907

Public collections

Among the public collections holding works by André Derain are:

Nazi-looted art

In 2020, a French court ordered that three paintings by Derain, Paysage à Cassis (ou Vue de Cassis), La Chapelle-sous-Crécy were restituted [19] and Pinède, Cassis should be restituted to the heirs of René Gimpel, from whom they had been looted during the Nazi occupation of France.[20] Gimpel's family had submitted the claim in 2013.[21] In 2023 Derain's Still Life With a Bottle was restituted to the heirs of Dane Reichsmann, who was murdered in Auschwitz with his wife.[22][23]

See also

References

  1. ^ Sabine, Rewald. "Fauvism". from Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. Archived from the original on 14 December 2007. Retrieved 2007-12-17.
  2. ^ Diehl 1977, p.8
  3. ^ Cowling and Mundy 1990, p.92
  4. ^ Diehl 1977 p.14
  5. ^ "International Painting and Sculpture - Le Cavalier au cheval blanc". National Gallery of Australia. Retrieved 2007-12-17.
  6. ^ "Mountains at Collioure by André Derain at National Gallery of Art". Rolfes. Retrieved 1 July 2012.
  7. ^ "Gil Blas / dir. A. Dumont". Gallica. 1905-10-17. Retrieved 2020-06-27.
  8. ^ Tom Rosenthal, reviewing Derain's London paintings on show at the Courtauld Gallery, The Independent 4 December 2005
  9. ^ a b Clement 1994, p. 396
  10. ^ a b "Works on View: André Derain". Guggenheim Hermitage Museum. Archived from the original on 25 January 2008. Retrieved 2007-12-18.
  11. ISBN 9780679641957
    .
  12. ^ Hamilton 1993, p. 207
  13. ^ Sotriffer 1972, p. 59
  14. ^ Cowling and Mundy 1990, pp. 92–93
  15. ^ "Australia Dancing leaps into Trove". Archived from the original on 2011-08-08.{{cite web}}: CS1 maint: unfit URL (link)
  16. ISBN 978-0-89236-891-4
    . Retrieved 14 February 2012.
  17. ^ "André Derain Biography". Namen der Kunst. Art Directory GmbH. Retrieved 2008-01-03.
  18. ISBN 9781588393494
    .
  19. ^ "Décision de restituer trois tableaux d'André Derain à la famille de René Gimpel". www.culture.gouv.fr (in French). Retrieved 2023-11-10.
  20. ^ "Marseille : un tableau du peintre fauviste Derain, butin des nazis, restitué à ses propriétaires". France 3 Provence-Alpes-Côte d'Azur (in French). 2021-01-28. Retrieved 2023-11-10.
  21. ^ Laborie, Aurore. "One family's battle to be reunited with art looted by the Nazis". lootedart.com. Retrieved 2023-11-10.
  22. ^ "In apparent first, Croatia restores looted art to grandson of Holocaust victim". www.lootedart.com. Retrieved 2023-11-10.
  23. ^ "La Croatie restitue plusieurs œuvres d'art spoliées au petit-fils d'une victime de la Shoah | Gazette Drouot". gazette-drouot.com (in French). 2023-09-28. Retrieved 2023-11-10.

Further reading

External links

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