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Home / Gallery Tour 1 / Gallery News / Gallery Tour 2 / Artists

Gauguin and the Fauves: André Derain (French, 1880-1954)

Camoin / Derain / Gauguin / Matisse / Rouault / Vlaminck

Derain / Derain 2 / Derain 3 / Derain 4: Drawings

Impressionist and Post-Impressionist Prints and Drawings: Prints by Pierre Bonnard, Georges Braque, Charles Camoin, Mary Cassatt, Paul Cezanne, Henri Edmond Cross, Edgar Degas, Sonia Delaunay, Maurice Denis, André Derain,
Susanne Duchamp, Raoul Dufy, Jean-Louis Forain, Paul Gauguin, Marie Laurencin, Edouard Manet, Henri Matisse, Berthé Morisot, Pablo Picasso, Pierre Auguste Renoir, Georges Rouault, Ker Xavier Roussel, Paul Signac,
Henri Toulouse-Lautrec, Suzanne Valadon, Maurice de Vlaminck, James A. McNeill Whistler, and others.

Drawings by Albert Besnard, Andre Barbier, Henri Edmond Cross, Jean-Louis Forain, Eva Gonzales, Marie Laurencin, Maximilien Luce, and Georges Rouault.

Hand-colored prints by Mary Cassatt, Marc Chagall, Sonja Delaunay, Joan Miró, Henri Matisse, and Pablo Picasso.

For a review of the show that concludes, "Art exhibits in Madison rarely get this good," click review.
André Derain was one of the leaders of the original Fauve group. Persuaded to devote himself to painting by Vlaminck, Derain and Vlaminck shared an interest in building paintings out of strong colors. Through his friendship with Matisse, Derain drew Vlaminck, a more resolute outsider, into the Fauvist moment, and the basic grouping of artists was completed. After several years, the artists involved went off in different directions. For Derain, that meant working through Cezanne and following the Cubist innovations of Picasso and Braque; for Vlaminck, it meant working his way through Cezanne to Van Gogh and then distilling an intensely personal style of his own from the art he had imbibed. While prints were central to Vlaminck and Matisse's artistic activity, they were more peripheral to Derain, and his print oeuvre is much smaller than Matisse's and somewhat smaller than Vlaminck's. There is an unobtainable catalogue raisonne of the prints by Jean Adhemar, Julian Cain, and Jean Valery-Radot, L'oeuvre grave de Derain (Paris: Bibliotheque Nationale, 1955) prepared for a memorial exhibition of Derain's prints from the B.N.'s holdings. There is also a small study by David Sawyer, Prints by Andre Derain (n.p.: 1988), who notes that "The full-length standing nude was a pose that interested Derain from the twenties onward. The modeling . . . is done with a strong outline and accurate shading; some areas within the shadoes are re-enforced which gives a luminous quality to the surface" (p. 58). Like his fellow Fauves Matisse and Vlaminck, Derain has won recognition as one of the most important artists of the twentieth century (all three are represented in Edward Lucie-Smith's Lives of the Great 20th-Century Artists [1999], which focuses on the author's top 100 artists of the century). Derain's work is included in all of the great museums of modern art in the world and, as the bibliography below suggests, is still the focus of important retrospectives in major museums in the US and Europe.

Select Bibliography: Guillaume Apollinaire, Andrè Breton, and Alberto Giacometti, Andre Derain, ed. Jean Leymarie (Paris. Grand Palais, 1977); Bernadette Contensou, Hommage à Andre Derain (Paris. Musée d'Art Moderne de la Ville de Paris, 1980); Andre Derain, Lettres à Vlaminck. (Paris: Flmmarion, 1955); Gaston Diehl, Andre Derain (New York: Crown, 1977); Frank Elgar, Derain. Exposition à Marseille, Musée Cantini (Marseille: Musée Cantini, 1964); Elie Faure, A. Derain (Paris: Les Editions G. Crès et Cie, 1923); Georges Hilaire, Derain (Geneva: Pierre Cailler Editeru, 1959); Michel Kellermann, André Derain: Catalogue Raisonne de l'Oeuvre Peint. Complete in 3 volumes (Paris: Galerie Schmit, 1992- 99); Jane Lee, Derain (Oxford: Phaidon/NY: Universe, 1990); Jean Leymarie, Derain: An exhibition of paintings and theatre designs (Edinburgh: Royal Scottish Academy, 1967); Pieter Coray, Andre Derain, Bildhauer (Milano:Electa, 1994); Suzanne Pagè, Andre Derain (Paris: Musée d'Art Moderne de la Ville de Paris, 1995); Denys Sutton, Andrè Derain, 1880-1954 (London: Wildenstein, 1957); Malcolm Vaughan, Derain (New York: Hyperion Press, 1941).
Squatting Nude . Original lithograph in sanguine. Edition unknown. Signed in pencil lower right. A very good impression of this uncommon lithograph. Image size: 270x212mm. Price: $2000.
Standing Nude. Original lithograph in sanguine. Edition unknown. Signed in pencil lower right. A very good impression of this uncommon lithograph. Sheet size: 270x212mm. Price: SOLD.
Buste de femme. Original lithograph, 1950. 800 unsigned impressions for Fernand Mourlot's Souvenirs et portraits d'Artistes, published in Paris by Alain Mazo in 1972. There were also 50 Roman-numbered portfolios and several artist's proofs. Originally executed in 1950 for Farewell to Chabrol Street but not published until this portfolio. Image size: 152x125mm. Price: $750.
Le Pont Neuf. Original etching, 1937. 500 impressions for the deluxe collaborate artists' book Paris 1937, which also included etchings by Matisse and Vlaminck. Ours is a proof with wide margins outside the edition. Signed in the plate. Image size: 344x262 mm. Price: $750.
Portrait of a woman. Original color lithograph, 1939. Published in the deluxe review, Verve, along with two linocuts and a lithograph by Matisse. Executed at Mourlot Freres under Derain's supervision. Image size: 243x180 mm. Price: $500.

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