Description
143 Maurice DE VLAMINCK (1876-1958) View of a village in Ile-de-France (probably Nesles-la-Vallée), circa 1920 Oil on canvas. Signed lower left. 45 x 53 cm Provenance: - Mme Madeleine Peuchet - Sale by Me Robin, Drouot, 27/11/1975 - Collection Paule Cailac In 1919, Vlaminck moved to the Oise region, near Valmondois, where he bought a small house. The following year, he moved a few miles away and bought a thatched cottage in Auvers-sur-Oise. Our painting most probably represents the nearby village of Nesles-la-Vallée. Our composition can be compared to the watercolor, gouache and ink - Nesles-la-Vallée in the Grenoble museum (MG 2103). Vlaminck is still indebted to the Cézanne cubism adopted in 1910: cubic assemblies of village houses, superimposed planes without any effort of perspective research and restricted palette. The luminous flakes of flowers in the field, however, recall his Fauvist touch. Nesles-la-Vallée testifies with great mastery to this period of transition, but the deep ultramarine blues, so characteristic of the painter and reflections of his
143
143 Maurice DE VLAMINCK (1876-1958) View of a village in Ile-de-France (probably Nesles-la-Vallée), circa 1920 Oil on canvas. Signed lower left. 45 x 53 cm Provenance: - Mme Madeleine Peuchet - Sale by Me Robin, Drouot, 27/11/1975 - Collection Paule Cailac In 1919, Vlaminck moved to the Oise region, near Valmondois, where he bought a small house. The following year, he moved a few miles away and bought a thatched cottage in Auvers-sur-Oise. Our painting most probably represents the nearby village of Nesles-la-Vallée. Our composition can be compared to the watercolor, gouache and ink - Nesles-la-Vallée in the Grenoble museum (MG 2103). Vlaminck is still indebted to the Cézanne cubism adopted in 1910: cubic assemblies of village houses, superimposed planes without any effort of perspective research and restricted palette. The luminous flakes of flowers in the field, however, recall his Fauvist touch. Nesles-la-Vallée testifies with great mastery to this period of transition, but the deep ultramarine blues, so characteristic of the painter and reflections of his
