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Last updated: 6/23/2019
Home / Gallery Tour 1 / Gallery News / Gallery Tour 2 / Artists

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

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.

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).
Seated nude loooking over her right shoulder seen from the rear. Original black chalk drawing with white gouache highlights, c. 1936-38. Drawn on olive Igres laid paper with the French government estate stamp, "Atelier André Derain." The figure on the left in La Surprise (1938) and in Nu au chat (c. 1936-38) seem to employ the same model. See Jane Lee, Derain (Phaidon, 1990), plate 43 and figure 15. Image size: 320x250mm. Price: Please call or email for current pricing information.
Reclining nude. Original pencil drawing, c. 1935. Large drawing on laid Canson et Montgolfier paper measuring 470x665mm; bottom of sheet folded for framing, several small tears coming down from top of sheet, none close to drawing. Signed "A. Derain" lower right. Image size: 211x583mm. Price: Please call or email for current pricing information.
The Bull. Original ink drawing, c. 1950. Exhibited Art Curial: Briest, Poulain, Le Fur; authenticated: Hotel Dasaault, Paris, by Violaine de la Brosse-Ferrand and Bruno Jaubert. Signed with a stamped signature. Image size: 70x165mm. Price: Please call or email for current pricing information.

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