Word: vlaminck
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...stand back and squint, you might think you were looking at paintings by, say, Utrillo or Vlaminck - delicate streetscapes suffused with morning light and dusky melancholy. Indeed, those artists, along with Picasso, Braque, Matisse and Derain, were among Atget's contemporary admirers. The Surrealists adopted him as one of their own, enchanted by his gaudy fairgrounds and prostitutes, his near-abstract depictions of stonework and staircases, and the way he sometimes reflected his own image in store windows. Later photographic greats - Edward Weston, Walker Evans, Ansel Adams - admired his ability to combine straightforward documentation with almost painterly finesse...
...quit school to study drawing full time, and in the years that followed he would study painting in Florence and sculpture in the marble quarries of Carrara. By 1906 he was ready for Paris. It was by then the cockpit of modernity, the Paris of Picasso, Matisse, Derain and Vlaminck. Some of the first canvases in this show are portraits of women painted in Modigliani's earliest style, a gaunt Expressionism bearing all the signs of Edvard Munch and Picasso's by then discarded Blue Period, undertaken with broken brushwork learned from the canvases of Cezanne. It's competent, even...
...blue, yellow; colors he put down on the canvas right next to each other, vibrating wildly, with no concern for reality. By 1905 many Parisian critics still found the color combinations emerging from this Postimpressionist art peculiar. Matisse and his French followers, André Derain and Maurice de Vlaminck, were nicknamed les fauves (the wild beasts) because they painted lemon yellow and lime green skies above pea green seas upon which sailed geranium red boats. There was another wild color that these Fauves used: white. In Alfred Sisley's Impressionist view of Willows on the Banks of the Orvanne...
...works not shown that might be displayed later (the exhibit will run well into the first couple of months of 1995) are two still-lifes of oranges by Picasso and the Fauvist Maurice de Vlaminck. If these works were placed side by side like the Picasso and Braque, each one would help enhance the other through their differing uses of color, texture and anthropomorphism...
...Gogh-like figure who killed himself in a fit of despair over his art at the age of 30 in 1928 -- a strange freak of reputation for a painter whose work seems not much more than sensitive pastiche of those two archbores of the Ecole de Paris, Maurice de Vlaminck and Maurice Utrillo...