Maurice de Vlaminck (Parigi, April 4, 1876 - Rueil-la-Gadel, October 10, 1958) was a French painter.
Vlaminck was a proud autodidact: his art wants to be free and immediate, with no literary or philosophical interpretations, even if at first was inspired by impressionism, he quickly stepped back and looked with interest to the colors strong and pure André Derain and Henri Matisse.
In his early works, the colors are bright and the elements of the landscape are simplified in contrast lines, which give a great sense of rhythm and movement with very little grace and dynamism: the strokes shall not harmony, but strength and energy.
On the advice of Henri Matisse, presented to the public its first dipinti al Salon des Indépendants, poi nel 1905 partecipò al Salon d’Automne e i critici lo inserirono a pieno diritto nel gruppo dei fauves: per il suo stile decisamente aggressivo e per l’uso di colori puri, talvolta spremuti direttamente dal tubetto sulla tela, si affermò come l’esponente più radicale del gruppo.
L’unione dei fauves fu fragile e breve: dopo il 1907 il gruppo si sciolse e ogni artista intraprese un percorso autonomo.
Anche Vlaminck mostrò una pittura diversa da quella degli anni precedenti: dopo aver conosciuto l’opera di Paul Cézanne, la sua pittura si compone di paesaggi e di nature morte dai colori meno accesi e da un cromatismo drammaticamente espressivo.
I contorni sono meno marcati, le pennellate sono meno nervose, il disegno è semplificato, le linee curve si affiancano a quelle rette dando un maggior senso di profondità e d’armonia.
L’avvicinamento all’espressionismo.
Attorno al 1910 Vlaminck rimase colpito sia dal cubismo, che lo portò verso forme piene e più costruite, che dall’espressionismo.
L’avvicinamento all’espressionismo fu comune anche ad altri fauves: i punti di contatto tra i pittori fauves e gli espressionisti erano molti, la loro evoluzione fu quasi parallela con reciproche influenze, pur nella diversità di carattere e di sensibilità dei singoli artisti.
Entrambi questi movimenti superarono definitely Impressionism: the Impressionists while the view of nature is basically peaceful and devoid of issues or fears within, the colors strong and bright colors and dark hours of the Fauves and the Expressionists are a clear sign of a mood disorders looking for an identity.
There was a similar change in literature, where he moved from naturalism, close to positivism, the decadence, linked to existentialism.
After World War I, Vlaminck left Paris and went to live in the country, in Rueil-la-Gadel, where he remained until his death.
In the works of this period can be traced to the deep impression that the experience the war has had on his artistic vision.
His landscapes take on a new look thanks to increasing influence of expressionism, the palette becomes darker and more disturbing and dramatic atmospheres.
The works of this period are characterized by silent and deserted streets of the country, that stretch to the horizon in a newfound perspective depth.
Nature becomes a hostile and menacing presence, a symbol of a dramatic vision of existence, the sky is painted with cool colors and is almost always filled with clouds that herald the rain.
The brushwork in the works from the Fauves were bright and agile, they seem to drag fatigue on the canvas and give the idea of \u200b\u200ba strong existential pessimism.
Vlaminck died October 10, 1958 in Rueil-la-Gadel.
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