Скачать или смотреть ARTBURO ART VLOG | ANDRÉ DERAIN (АНДРЕ ДЕРЕН), Vue de Martigues, 1908

ARTBURO ART VLOG | ANDRÉ DERAIN, Vue de Martigues, 1908. Kunsthaus, Zürich, Switzerland. Exceptional Piece.

Derain first experienced the southern climes of his country when he spent the summer of 1905 with Matisse in Collioure, a small fishing village on the Mediterranean coast near the Spanish border. This inspired partnership resulted in the emergence of Fauvism, the first transformative thrust of the avant-garde in the young 20th century, which Matisse and Derain revealed to the art world at the 1905 Salon d’Automne in Paris. The salle des Fauves was a sensational, momentous event, and a hard act to follow. Nonetheless, a year later the two painters were already pressing forward and evolving in new directions, working independently, but still in close contact. Matisse returned to Collioure. Derain again journeyed south during the summers of 1906-1908, painting in L’Estaque in 1906, returning there at the end of the year, and in Cassis during 1907. He worked in Martigues, father west along the coast, near the Rhône delta, between May and late November 1908.

Derain’s second stay in the town at the end of 1906 may have been his response to having studied the selection of the Cézanne’s work in the recently closed Salon. When Derain returned to the Midi in the summer of 1908, having chosen Martigues as his base, he was certainly flush with enthusiasm from having visited the Cézanne commemorative galleries in the 1907 Salon d’Automne. Derain shared this excitement with Picasso and Braque, the leading figures among the new circle of artist friends to which he had gravitated since the beginning of 1908.
In this Paysage en Provence, Martigues, Derain continued to employ those “flat tones” of Fauve practice. Back in Collioure during the summer of 1905, Derain and Matisse together viewed the Tahitian Gauguin paintings that Daniel de Monfreid had stored for safekeeping in his home nearby. The example of these works led Derain, more quickly than Matisse, to supplant the broken divisionist facture they had been using in their work, derived from Matisse’s interest in the Neo-Impressionist color theory of Signac and Cross, and to deploy instead broader masses of brilliant color in the Gauguinesque manner.
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