Word: vlamincks
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...very durable and misleading label. Fauvism was worked out by a small group of artists over a span of three years; it was dead by 1907. It could coarsely be defined as what Matisse and France's Midi region did to half a dozen painters: to Maurice de Vlaminck and André Derain, to Raoul Dufy and Georges Braque, to Kees van Dongen and Henri Manguin...
...magazines, including the Saturday Evening Post-no mean sum, in 1907 -and impoverished himself by making serious art at a time when Americans drew little distinction between "fine" and "commercial" work. Dove went to Europe and stayed for two years looking at the work of les Fauves: Matisse, Derain, Vlaminck. He came back in 1909, and never left America again. He could not afford a second trip...
This prodigious output has long since made the author a millionaire. Simenon's house at Epalinges, a small Swiss village near Lausanne, has 26 rooms, 21 telephones, portraits of its owner by Buffet, Vlaminck and Cocteau. But the house is more important as a mark of contentment for the Liège-born Simenon, who shares it with Second Wife Denise, their three children and a livery of servants. Previously, his restlessness pushed him for varying periods into 30 residences around the world as well as into a sloop on which he cruised through Europe. Simenon even...
...Picasso for $430,000, believed to be a record for the Rose Period. A fauve-period Dufy, Les Trois Ombrellas, was bought by Houston's John Beck for $140,000, double the auction high set for a Dufy only three years ago. But dreary works by Vlaminck, Van Dongen and lesser artists were also bid skyhigh. Still, some paintings failed to meet their reserve price (at which the owner prefers to keep possession rather than sell). Claude Monet's loving yet sharp-focused portrait of his wife, Madame Camille Monet, was pegged at $800,000. When bidding stopped...
Fauvism lasted but two years-no longer than many present-day artistic vogues. Yet for Vlaminck, by virtue of his youth, temperament and training-or rather, lack of it-it was the right movement at the right time. He transmuted its gaudy splendors into rockhard canvases that can be looked at again and again without their seeming to fade or weaken. By the age of 30, he had attained heights he never regained in a long lifetime of painting. He also recorded, for later generations, the candor and gaiety of a placid era and countryside that were soon...