white sailboat at chatou

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The Seine at Chatou

Maurice de Vlaminck French

Not on view

Born in Paris to a Flemish father and a French mother, Vlaminck grew up in a musical household that was virtually impoverished. At the age of sixteen, he left home and moved to Chatou, where he later supported his wife and two children by working as a professional cyclist and an itinerant violinist. Although now considered a suburb of Paris, Chatou was then a small village situated to the west, along the Seine. Opposite it lies the Île de Chatou, a long, narrow stretch of land in the center of the river. The scene shown here appears to have been observed from a point on the island facing the village of Chatou, with its red-roofed houses, on the mainland. Vlaminck shared a studio on the island with fellow artist André Derain in 1900. Together, they formed what has been called the "School of Chatou," and their painting style—characterized by bright colors and bold brushstrokes—was a harbinger of Fauvism. The self-taught Vlaminck embraced painting with the same unbridled passion as he did life itself, spontaneously choosing the most straightforward forms and basic hues to express his feelings: "I try to paint with my heart and my guts without worrying about style." After the Parisian art dealer Ambroise Vollard purchased Vlaminck's existing stock of paintings early in 1906, the artist was able to devote himself fully to painting, and his work became more lighthearted and exuberant. He spent the summer of 1906 in and around Chatou, painting pictures such as this one, in which he emulated the undisguised brushwork and intuitive application of paint of Van Gogh's late, expressive style, which he so admired. Combining the primary colors of blue and red with white, Vlaminck applied them directly from the tube in daubs and swirls of pigment, employing these conventional hues for the white houses, green leaves, reddish-orange tree trunks, and the blue, red, and white trawler in the background.

The Seine at Chatou, Maurice de Vlaminck (French, Paris 1876–1958 Reuil-La-Gadelière), Oil on canvas

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Title: The Seine at Chatou

Artist: Maurice de Vlaminck (French, Paris 1876–1958 Reuil-La-Gadelière)

Medium: Oil on canvas

Dimensions: 32 1/8 × 39 3/4 in. (81.6 × 101 cm)

Classification: Paintings

Credit Line: Jacques and Natasha Gelman Collection, 1998

Accession Number: 1999.363.84

Learn more about this artwork

Timeline of art history, france, 1900 a.d.-present, museum publications.

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By Maurice de Vlaminck
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Sailing boats at Chatou

Maurice de vlaminck.

05 Apr 1876 – 07 Oct 1958

Signed l.l., oil "Vlaminck". Not dated.

Reproduction requests

Works in the collection

'Sailing boats at Chatou' represents both Fauvism and Maurice de Vlaminck at the very peak of their achievement. To appreciate the very real vivacity and originality of the Fauve movement for those few brief years one only has to compare this fresh, breezy, bright and colourful work with the Gallery's later Vlaminck of the post-Fauve period, 'The red roofs (Landscape)' 1912. There is a world of difference between the two; the convincing credibility of the original initiative shines like a beacon in comparison with the later work.

One of the more intriguing snippets of information about Vlaminck is that he very nearly became a professional racing cyclist instead of a painter but that opportunity was thwarted in 1896 through his contracting typhoid fever. However he did continue with the violin. The story goes that he met his great Fauve colleague, André Derain, when both were on a tram that happened to derail. Whatever the true circumstances Vlaminck and Derain decided to share a studio on the Ile de Chatou, which happened, probably, around 1904 after Derain had returned from military service; a trial from which Vlaminck himself had returned in 1901. Henri Matisse was another confidant of Vlaminck and Derain and the three became the undisputed leaders of the Fauve movement. Others associated with the group include Georges Braque, Kees van Dongen, Raoul Dufy, Othon Friesz and Albert Marquet.

'Sailing boats at Chatou' was painted at the very zenith of Fauve activity and is therefore a perfect representation of the movement. It may not be as bright and varied in colour as some works, but the elemental tones are dramatic and contrasting. There are the characteristic brightly charged moments such as the sudden red roof of the riverside cottage, the formidable white sail of the boat that confronts as we approach the picture and that strange splash of orange in the river bank. Look closely at this painting and you will discover just about every colour of the spectrum, sometimes subdued, sometimes overt. Then there is too the energetic and lively brushwork; those vertical stabs brimming with energy which give the water paradoxically a shimmering but reflective surface; the flourish of brusque strokes which bring air and breeze to the clouds and the windswept trees. All are qualities of exuberance that are the very essence of the Fauve genre. Equally fascinating is the existence of another, similar but not identical painting by Vlaminck clearly depicting the same stretch of the Seine but with the red-roofed house on the other bank of the river, which must have been painted at the same time although it is undated. This work is in the collection of the Hermitage Museum in St. Petersburg.

Exhibition history

Shown in 7 exhibitions.

Vlaminck: un instinct fauve , Caixa Forum Madrid, , 10 Mar 2009–07 Jun 2009

Vlaminck: un instinct fauve , Caixa Forum Barcelona, , 02 Jul 2009–18 Oct 2009

Matisse and the moderns , Art Gallery of New South Wales, Sydney, 25 Apr 2015–25 Oct 2015

Modernists: selections from the European collection , Art Gallery of New South Wales, Sydney, 07 Nov 2015–25 Apr 2016

Landscapes of pleasure, from Monet to Hockney , Art Gallery of New South Wales, Sydney, 30 Apr 2016–17 Jul 2016

Margaret Olley: a generous life , Queensland Art Gallery/Gallery of Modern Art, Brisbane, 15 Jun 2019–13 Oct 2019

Margaret's Gifts , S.H. Ervin Gallery, The Rocks, 04 Jan 2020–22 Mar 2020

Grand Courts collection rehang , Art Gallery of New South Wales, Sydney, Nov 2021–2023

Bibliography

Referenced in 3 publications.

Edmund Capon, Look , 'A new Vlaminck', pg.14-15, Sydney, Feb 2007, 14, 15 (colour illus.).

The Art Gallery of New South Wales Foundation and Michael Brand, Art Gallery of New South Wales Foundation: Celebrating 30 years of art acquisitions , Sydney, 2015, p 33, col illus pp 2–3 (detail), 33.

Maïthé Vallès-Bled, Vlaminck: catalogue critique des peintures et céramiques de la période fauve , Paris, 2008, 390 (colour illus.), 391. cat.no.177

The provenance of this work is under review and records will be updated as new details become available. The Gallery welcomes any information. Contact [email protected]

Ambroise Vollard, Paris/France

Albert Davis

The Redfern Gallery, London/England, with Redfern Gallery 1943

M Janssen, in 1943

Alex Reid & Lefevre, Ltd., London/England, titled 'Etude de bateaux'

Arthur Tooth & Sons Ltd, London/England, with Arthur Tooth & Sons 1966

Justin Dart, Los Angeles/California/United States of America, sold Sotheby's Parke Bernet, 4 November 1982, lot 46

Private Collection, New York/New York/United States of America, 1993

Cyrille de Gunzburg, Paris/France, Purchased by the AGNSW from Cyrille de Gunzburg 2006

Other works by Maurice de Vlaminck

House by a lake Maurice de Vlaminck 109.1984

Italian village Maurice de Vlaminck 20th century 66.1983

The red roofs (Landscape) Maurice de Vlaminck 1912 6887

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His Most Famous Painting (The River Seine at Chatou) – Maurice De Vlaminck

Famend French painter, Maurice de Vlaminck (April 4, 1876 – October 11, 1958) was a multifaceted artist, who was born in a musicians’ household in Paris. Shortly after starting his profession as a violinist and knowledgeable bicycle owner, he had a stint with the navy. Following this, he began with portray and writing. Vincent Van Gogh was the first affect on his preliminary type of portray. Vlaminck’s early works belonged to the ‘Impressionist’ style. He briefly experimented with ‘Cubism,’ and after attempting his fingers with ‘Put up-Fauvism’ & ‘Realism,’ he developed an ‘Expressionist’ type of portray. Amongst his main works is “The River Seine at Chatou,” created within the 12 months 1906.

“The River Seine at Chatou,” by Maurice is a piece of oil paint on 82.6 cm x 101.9 cm canvas. It at present types part of the Jacques and Natasha Gelman Assortment at the Metropolitan Museum of Artwork, New York, USA. From the 12 months 1901 onwards, Vlaminck was in shut affiliation with Henry Matisse, Claude Monet, and Andre Derain. Across the 12 months 1906, was the time when Matisse and Derain have been nurturing ‘Fauvism’ in its nascent stage. Due to this fact, ‘Fauvism’ had a telling affect on Maurice’s artwork. This masterwork, “The River Seine at Chatou,” was a distinguished forerunner of ‘Fauvism,’ with its daring, however small brushstrokes. He made a beneficiant use of pure and deep, predominantly, main colours – crimson, blue, and yellow. Nonetheless, it options colour blends and graded tones, greater than the later ‘Fauvist’ works.

Chatou was a small village, located at the financial institution of River Seine, close to Paris that caught the flamboyant of many painters of these instances. There’s a slim patch of land located within the waters of The Seine, often called Île de Chatou. It was probably the purpose from the place Maurice de Vlaminck captured the view for “The River Seine at Chatou.” The river within the middle covers virtually one-third of the body. On the precise facet, orange-crimson bushes are portrayed on the hardly seen yellow patch of Île de Chatou. Within the entrance, there’s a small yellow mast boat, alongside the seen tip of a crimson, maybe, an even bigger boat. The crimson-roofed huts are seen in direction of the inside of the portray, farther away from the viewer. Their view is partially lined by a darkish blue and a crimson boat of medium dimension. The sky is about within the dramatic ‘Fauvist’ paints of blue, white, pink, and grey. Its reflection within the waters under provides them its personal taste. Total, the topic of “The River Seine at Chatou” is a typical scene at the village, imbued with the maverick great thing about ‘Fauvism!’

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Currently not on view

The Seine at Chatou

Title:	The Seine at Chatou
Date:	c. 1908
Artist:	(French, 1876–1958)
Medium:	Oil on panel
Dimensions:	14 1/2 x 18 1/4 inches (36.8 x 46.4 cm) Framed: 20 3/4 × 24 1/4 × 3 3/8 inches (52.7 × 61.6 × 8.6 cm)
Classification:	Paintings
Credit Line:	A. E. Gallatin Collection, 1944
Accession Number:	1944-12-3
Geography:	Made in ,

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Maurice de Vlaminck

Maurice de Vlaminck (1876-1958) was a French Fauvist painter.

Maurice de Vlaminck Summary:

He was self-taught and publicly shunned academic training.
Vlaminck was inspired by Van Gogh’s use of intense color.
He was one of the artists who participated in the controversial group show at the Salon d’Automne in 1905.
He moved to the countryside after World War I.
Vlaminck also wrote poetry and fiction and provided illustrations for several books.

Maurice de Vlaminck Famous Paintings:

The River Seine at Chatou (1906)
Portrait of Derain (1905)
Le bassin à Chatou (White Sailboat at Chatou) (1907)
Town on the Bank of a Lake (ca. 1909)
Le pont de Poissy (ca. 1910)
Landscape near Martigues (1913)

Vlaminck: Expressing mood with color

By Souren Melikian

July 11, 2008

PARIS — Paris, where the revolution that changed the political order of Western societies was sparked by an outburst of popular rage, is also the city where an explosion of artistic rage put an end to a thousand-year-old Western tradition of figural art.

This message may not be the point of the book "Vlaminck, un instinct fauve," which accompanies the show on view at the Musée du Luxembourg until July 20, but readers and viewers will decipher it for themselves as they gaze at the œuvre of the man who mattered most among the half-dozen painters at the heart of the Fauve movement.

The quiet Maurice de Vlaminck, born in Paris in 1876, was not the most likely figure for a revolutionary role. His parents were music teachers. The boy learned to play the violin with his father, who later initiated him to musical harmony. His two hobbies, reading popular fiction in illustrated editions and collecting the brightly colored vignettes distributed with coffee packets, did not exactly point to a future career as an artistic firebrand. Nor did his attempts at painting while in his late teens. It all started with a chance encounter when Vlaminck, 23, was about to finish his national service in the army.

On the train that took him to Paris from Chatou in the Paris area, the future artist engaged conversation with another young man, André Derain. The two struck up an instant friendship that would last a lifetime. They decided to spend the next day painting together, and when Vlaminck left the army in September 1900, the aspiring artists rented a studio for a year in which they worked together until Derain in turn went to complete his national service.

How Vlaminck emerged that year as a driving force in the nascent Fauve movement remains a mystery. To sustain himself, he gave violin lessons or performed in bands at night and painted in the daytime. Two paintings, both dated 1900, show that it was then that he broke with the century-old European tradition of individualized portraiture. The precise circumstances in which he painted "Sur le zinc" (At the Bar) and "L'homme à la pipe" (Man Smoking a Pipe), alternatively known as "Le Père Bouju" (Old Bouju), are not known.

"At the Bar" reveals an awareness of Toulouse-Lautrec's snarling portrayals of prostitutes and solitary drinkers, but goes far beyond sardonic scrutiny. In this study of an aging prostitute, Vlaminck makes no attempt at probing the sitter's psychology. This is the impersonal cartoon of a type. The woman's breasts aggressively jut forth under the white dress, in which a flower is stuck, and a cigarette limply hangs from her heavily rouged lips. Drink addiction is suggested by her reddish nose tip. While the woman's features were clearly observed from life, no trace remains of her individuality. Tragedy is conveyed through the expressiveness of contrasting color and oversimplified line. Nothing of the kind had yet seen the light of day in Western art.

In "Old Bouju," similar exaggeration distorts the man's appearance, with his hat tilted at a rakish angle and his red scarf tied around his neck in an attempt at foppishness. Although individual features like the big slanting eyebrows or the high cheekbones are noted, here too Vlaminck chose to paint an expressive type, not to fathom the sitter's personality.

In a telling parallel, Vlaminck, when looking at nature, ignored landscape details, merely seeking an excuse to express his mood through violent color and brushwork. The Fauvist revolution was under way.

"Sous bois" of 1904 is a symphony of colors in which the subject is almost irrelevant. Black strokes purportedly depicting trunks and branches create a staccato rhythm across a space shot through with green, yellow, red and blue. The colors bear no relationship to material reality.

Within a year, Vlaminck made another leap, deconstructing the physical world into colored particles in motion. "Le Pont de Chatou" (The Chatou Bridge) from the Museum of Fine Arts in Houston or "Les Ramasseurs de pommes de terre" (The Potato Pickers) from the Kunststiftung Merzbacher in Küsnacht near Zurich, both done in 1905, are landscapes in name only. While the influence of van Gogh is clear, Vlaminck went further. In "The Chatou Bridge," paint runs down in curving strokes as in some uncontrolled stream of visual consciousness. Black touches punctuate the composition like furious exclamation marks. The wheels of a cart are carmine red and blackish blue. Here, color transcribes turmoil in the mind, not physical perceptions.

In "The Potato Pickers," nature disintegrates into fireworks of color streaks. Four silhouettes, merely outlined, barely maintain a figural character. The temptation to dissolve the visible world into color fragments tumultuously swishing about grew stronger. With "La Seine à Chatou" (The River Seine at Chatou), from the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, the shorthand rendition of boats, houses and trees coming above the abstract tapestry of the lower half suggests that Vlaminck was thinking of breaking with figural art.

"Le Verger" (The Orchard) points even more clearly in that direction. The flaming reds, yellows and turquoises jutting forth in the lower half could be rendering colored hallucinations.

We do not know what induced Vlaminck to step back from the brink in 1906. As if his accelerating trip towards abstraction had acted as a visual catharsis, the painter switched to figuration made intensely expressive through color and brushwork.

In "Femme au chien" (Woman With a Dog), the wind seems to be blowing through the broad streaks running down on the woman's dress, and colored accents in shades of blue and ochre swirl behind her as an ill-defined backdrop. Vlaminck started experimenting in every direction. In a "Chatou Landscape" of 1906, a classical composition and a careful color balance go together with unreal colors and the elimination of any detail in the rendition of water and sky, both reduced to faceted surfaces.

A year later, the artist painted the poetic "Les coteaux à Malmaison" (The Malmaison Hillside), in which color bars shoot up. Some suggest trees, others are indistinct. The harmony in light yellows, almond greens and deep blue punctuated by two red patches could be the visual transcription of a musical rhythm.

Vlaminck's landscapes took on a visionary character. In "Chateau aux arbres rouges" (Red Trees at Chatou), swaying trunks painted a deep pink rise against a sky broken up into blue and white facets. Elongated yellowish and salmon volumes on the horizon stand for small constructions. The painter was reconstructing nature in a colored dream.

In 1909, Vlaminck embarked for good on a return trip to the real world, now perceived in a dramatic atmosphere. The houses in his urban views seemed to be tilting sideways. "Cityscape," from the Strasbourg Museum of Modern and Contemporary Art, has a somber violence, suggested by dark colors, browns and blackish blues, made more tragic by the glaring white facades.

In a magnificent riverside scene, "Voilier" (Sailboat) from the Van der Heydt Museum in Wuppertal, Germany, the equally dramatic mood, despite a resurgence of reds and blues, is enhanced by the economy of lines. Vlaminck had some rare flashes of visionary Romanticism. "Riverside" of 1909, a little known masterpiece that surfaced in the Galerie Schmit in Geneva before being sold to a private collector, is a celebration of sunset light emerging from stormy clouds over the mountains.

The sight of early Cubism triggered one last flourish of creative inventiveness. There is a conscious reminiscence of Cézanne's late faceted landscapes in another "Riverside," from the Centre Georges Pompidou, while in some urban views, like "Vins et Liqueurs" (the name of a wine merchant's shop) from a Belgian collection, houses tumble against one another in a drunken dance. As war broke out in 1914, Vlaminck was mobilized. In 1915, while working in an arms factory, he produced his last masterpiece, "Cityscape," also tucked away in a private collection.

War traumatized the painter even though he did not go through the worst of it. Thereafter, Vlaminck endlessly painted dark pictures, whether houses or still lifes, all gleaming under the same white glare, as if obsessed by unshakable memories.

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Art History
U.S. History

Maurice de Vlaminck Paintings

Maurice de Vlaminck (April 4, 1876 – October 11, 1958) was a French painter. Along with Henri Matisse and André Derain, Vlaminck is considered one of the major figures in the Fauve movement, a group of modern artists known for their use of intense color. Learn more »

Paintings by Maurice de Vlaminck in Chronological Order



, 1900	, 1904	, 1905

, 1905	, 1905	, 1905

, 1905	, 1905	, 1906

, 1906	, 1906	, 1906

, 1907	, 1907	, c.1907

, c.1907	, 1907	, c.1907

, 1907	, 1907	, 1907

, c.1908	, 1908	, 1908

, 1908	, 1908	, c.1909

, 1910	, 1910	, c.1910

, 1910	, 1910	, c.1910

, 1910	, c.1910	, 1910

, c.1910	, 1910	, 1910

, 1911	, 1911	, 1911

, c.1911	, c.1912	, c.1912

, 1912	, 1912	, c.1912

, 1912	, c.1912	, 1915

, c.1918	, 1918	, 1919

, 1919	, 1920	, 1956

, 1958

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