Word: vlaminck
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Neither he nor any of his contemporaries cared much about the social background or specific religious meanings of the work - and probably the more lowbrow avantgardists, like Maurice de Vlaminck, mentally reduced it all to mission ary-stew, bone-in-the-nose cliche. Not even Brancusi, whose borrowings of African motifs were of the most exalted refinement (as in Madame L.R., 1914-18, whose domed "head" comes from a Hongwe reliquary figure), had an "anthropological" interest in his sources. To him they were pure form...
...cheerfully slathered impasto, the sky streaked with cat's paws of pink and the puffs of whistle steam stitched across the fat, oily pelt of the sea, an other kind of sensibility is present. It is very like the world of the French Fauve painters Derain and Vlaminck. The gap between Paris and New York has narrowed to less than a decade, and American modernism is about to begin in earnest. -By Robert Hughes
...lesser man could have made a career out of repeating a style of such individuality (Raoul Dufy? Vlaminck?). But once Miró had perfected it, he abandoned it. In a transformation as abrupt as Picasso's switch from the soft-edged, attenuated figures of his blue period to the African ferocities of Les Demoiselles d'Avignon, Miró launched into his "dream paintings." These were derived partly from his fascination with his new surrealist friends in Paris, Breton and Eluard, and their talk of dream imagery, free association, irrational juxtaposition. And partly from plain hunger...
...this show, pleasure is celebrated: the tricolores and red, white and blue parasols in Raoul Dufy's street scenes, the rosy theatrical vigor of Van Dongen's scene of a couple out side a brothel. The Hussar (Liverpool Night House), 1906, the slapdash but infectious ebullience of Vlaminck's still lifes. The best sight of all, though, is Matisse inventing the Mediterranean; it is amazing to find how deeply one's images of that coast have been marked by Matisse's agaves and olives, his lion-colored headlands and glimpses of pink water...
After 1908 Derain pruned his color to achieve more weighty and old-masterly effects, and was never to regain the same energy. Vlaminck plummeted into coarse self-parody, Dufy tended more and more to crank out pretty little furniture-pictures, and Van Dongen simply fell apart, becoming-in his meaningless virtuosity and appeal to cafe society-an Andy Warhol with red corpuscles. The brief moment of Fauvism was over; naturally, since it was synonymous with youth itself...