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Landscape with red trees
Maurice de Vlaminck • Painting, 1906, 65×81 cm
Description of the artwork «Landscape with red trees»
The famous Parisian gallery owner Ambroise Vollardby the time of the creation of the landscape "Red trees" already visited the Studio Vlaminck and bought many of his paintings. The artist is excited, full of ideas and vitality. Summer 1906 is often called the most productive and successful period of his work. He is working in and around Chatou on the Seine, where, together with The dogwoodremoves the workshop.
"Only cinnabar could transmit the brightest red tiled roofs on the opposite slope. The orange color of the earth, hard and sharp color of the walls and greenery, the ultramarine and the cobalt of the sky in harmony with each other to dirty in a sensual and melodious manner," as the artist described the work on the scenery in happy for his brush the summer.
The period from 1903 to 1907, work, researchers call politicheskim. With the completion of this phase, a riot of color contrasts in the palette is partially softened. Now the main methods by which the Vlaminck expresses the emotional intensity of the landscape – the contours of the form. Compare, for example, the landscape andwritten in 1905.
In the foreground the green and yellow canopy tree adjacent to the red, sometimes turning into okhranye, trunks. Black, deliberately casual contours of the streamline image. The outline used everywhere. Strokes juicy, radiant and, in contrast to the early Fauvist period, wide and thick. Often Vlaminck generally set aside the brush and squeezed paint from a tube directly onto the canvas. This technique is actively used and van gon, whose raging fury was especially close to the Vlaminck.
The glow of the pink sky add an unexpected element of lightness, as if expanding the space and making it easier crisp colors and strong emotions. The Vlaminck is committed not only to convey the appearance – that is, to portray the trees as to bring through the colour and movement of the brush experience. Moreover, no transience, the Impressionists were not his. On the contrary, the paint pass the burning power of life, are fraught with unbridled joy and conceal the expectant discharge anxiety is the emotional palette of the artist is "wild colors".
Some researchers believe that unbridled temperament – not only strength, but also weakness Vlaminck, because outside of it he never came out. However, this view is too subjective. The Vlaminck believed that theories in art meaningless, and the painting is "the way to live."
Author: Alain Esaulova
"Only cinnabar could transmit the brightest red tiled roofs on the opposite slope. The orange color of the earth, hard and sharp color of the walls and greenery, the ultramarine and the cobalt of the sky in harmony with each other to dirty in a sensual and melodious manner," as the artist described the work on the scenery in happy for his brush the summer.
The period from 1903 to 1907, work, researchers call politicheskim. With the completion of this phase, a riot of color contrasts in the palette is partially softened. Now the main methods by which the Vlaminck expresses the emotional intensity of the landscape – the contours of the form. Compare, for example, the landscape andwritten in 1905.
In the foreground the green and yellow canopy tree adjacent to the red, sometimes turning into okhranye, trunks. Black, deliberately casual contours of the streamline image. The outline used everywhere. Strokes juicy, radiant and, in contrast to the early Fauvist period, wide and thick. Often Vlaminck generally set aside the brush and squeezed paint from a tube directly onto the canvas. This technique is actively used and van gon, whose raging fury was especially close to the Vlaminck.
The glow of the pink sky add an unexpected element of lightness, as if expanding the space and making it easier crisp colors and strong emotions. The Vlaminck is committed not only to convey the appearance – that is, to portray the trees as to bring through the colour and movement of the brush experience. Moreover, no transience, the Impressionists were not his. On the contrary, the paint pass the burning power of life, are fraught with unbridled joy and conceal the expectant discharge anxiety is the emotional palette of the artist is "wild colors".
Some researchers believe that unbridled temperament – not only strength, but also weakness Vlaminck, because outside of it he never came out. However, this view is too subjective. The Vlaminck believed that theories in art meaningless, and the painting is "the way to live."
Author: Alain Esaulova
