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Artists André Derain

André Derain

French Painter, Writer, Set Designer, Illustrator, and Sculptor

Movements: Fauvism, Divisionism, Cubism

Born: June 17, 1880 - Chatou, France

Died: September 8, 1954 - Garches, France

Quotes

"The aim we are setting ourselves is happiness, a happiness that we must consistently create."
André Derain
"I never lost touch with the Old Masters, and by the age of eighteen I was already familiar with all existing reproductions of their masterpieces...for what benefit comes from a lack of culture?"
André Derain
"Such doctrines have above all taught us to belong to our own period. However, seized by doubts as I am, I propose to attempt something most difficult: to belong to all time. By doing so, it will lead us towards truth and simplicity and that, if one wishes to adhere to one's own era, is still more complicated."
André Derain
"Doubt is everywhere and lies in everything."
André Derain
"One ought not to forget the only complete definition of art lies in the transition from the subjective to the objective."
André Derain
"To abandon myself to color for the sake of color."
André Derain
"The further I go the more alone I am. And I fear to be abandoned completely."
André Derain, In response to pre-war spiritual crisis

"For us Fauvism was like an ordeal by fire...our paints became sticks of dynamite. They were supposed to explode with light."

Synopsis

André Derain had a major role in the development of two of the most significant artistic movements of the early twentieth century. He, Henri Matisse, and Maurice de Vlaminck were responsible for generating works with a totally new style which would become Fauvism and his association with Pablo Picasso and Georges Braque was integral to early Cubism. Nevertheless, his contribution as the generator of the ideas behind these movements is constantly debated, and some consider his work derivative. This is due in part to the fact that, continually in search of artistic meaning and attempting to create a timeless art removed from the specificity of the modern age, he experimented with different stylistic idioms. Whichever side of the Derain debate you end up on, we can all appreciate his use of expressive vibrant color, his simplification of form, and his fascination with primitive art were constants throughout his work and played a major role in the creation and propagation of early Modern Art.

Key Ideas

Derain was one of the founders of the Fauve artistic movement along with Matisse. Although fascinated by the world around him, a popular subject among contemporary artists, he wanted to give a much greater appreciation to the expressionistic qualities of paint. His works are characterized by dense, vibrant brushworks that attract the viewer's attention as much as the subject itself.
Derain's interest in primitive masks began after viewing those exhibited at the Negro Museum in London, and he was one of the first to collect tribal art from Africa. It is likely that he was responsible for the interest in primitive elements espoused by Cubist artists such as Picasso and Braque. Derain was briefly interested in Cubist stylistic elements himself but his stylistic exploration of it was very brief.
Derain's search for an art that didn't need context to be of value, that would have a meaning for any generation, aligned him with the school of Symbolism. His decorative paintings describing the beauty of nature and individuals enjoying that nature differ significantly from those by the Impressionists before him who tried to depict modern life more realistically. His focus is more the beauty of what is described on the canvas, regardless of specifics. This generality denoted an inclination toward the idealism of Classical Art.
The Nazi Regime was especially attracted to Derain's later embrace of a Classical style, the embrace of Greek grandeur suiting their own claim to superior roots. Yet his alignment with the Nazi party during their occupation of France earned him a questionable place in the history of modern painting, forever compromising his revolutionary contributions.

Most Important Art

The Houses of Parliament (1905-1906)
Houses of Parliament represents a Neo-Impressionist panoramic view of the Thames River in London. Derain was sent to London by his art dealer Vollard to paint a series of London landscapes meant to rival Monet's. Derain wrote that he had difficulty with the subject, "it was absurd to paint the blazing sun in the world capital of fog," yet he took advantage of this opportunity to "explore the notion of color as an independent entity and paint a landscape which no longer represents anything."

In this work Derain experimented with Divisionism, applying thick, similarly-shaped dabs of paint to the canvas in a methodical, even fashion. The canvas is neatly divided into an upper and lower section. The upper section, devoted to the buildings and sky, is painted with vertically-oriented brushstrokes, while the bottom section, describing the water and the boat, is painted with horizontal ones. The artist uses a very bold color palette reminiscent of Impressionist works throughout. The mosaic of strokes noted in the sky are reflected beneath in the water, creating an overall harmonious balance across the entire surface of the canvas.

This painting represents a turning point in Derain's early art as he began to adopt a colorful palette that would enable him to capture his experience of the landscape. While not as bold as his later Fauvist efforts, Houses of Parliament represents the early revolution of color in his work.
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André Derain Artworks in Focus:

Biography

Childhood

André Derain was born in the Parisian suburb of Chatou. He grew up in a middle class family. His father worked as a pastry chef and served as a municipal councilor.

Derain received a traditional education at Saint-Croix in Le Vesinet, and then attended the Lycee Chaptal in Paris. He began studies in engineering at the Ecole des Mines in Paris but left the program in 1898. Derain recalled his formative education as being a miserable experience: "The teachers, ushers and pupils were a far more bitter memory for me than the darkest hours of my military career." Despite his disinterest in school, he excelled at drawing and won an award for it in 1895.

Early Training

André Derain Biography

Maurice de Vlaminck and Henri Matisse are often credited with Derain's decision to leave school and pursue a career in the arts yet this is not the case. Derain showed a precocious talent for drawing and painting from age fifteen, at which time he and his friend Le Noe began artistic studies with Father Jacomin and his sons. He remained in his studio until 1898, at which point he entered the Paris studio of the Symbolist painter Eugene Carriere. Derain met Matisse when the elder painter arrived at the same studio a few months later. Although Matisse is considered to have been Derain's teacher because he was eleven years his senior, their relationship was more of a collaboration.

Derain also met Vlaminck soon after entering Carriere's studio and the two became fast friends. Apparently Derain's parents discouraged the relationship between their son and this "bohemian anarchist" and he was banned from their household. When Derain sought Vlaminck's critique he would hang his painting outside of the window of his house for his friend to see.

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André Derain Biography Continues

Derain and Vlaminck reportedly shared models as well as mistresses. "They shocked the inhabitants of Chatou by their behavior-when they returned from Montmartre after an evening out ostentatiously mounted in a fiacre in the company of two prostitutes decked with distinctive boas."

Derain was known for his rebellious attitude. Once, at the Louvre, he painted a version of Ghirlandaio's Bearing the Cross, which offended the attendants who, after a scuffle, threw him out of the museum.

His early artistic career was put on hold when he was called up for military service in 1902. While unable to produce many works during this period, he remained in touch with Vlaminck, writing him often on the subject of art. The comments he makes regarding his new stylistic interests, key points in the development of Fauvism, significantly indicates his part in developing the movement, independent of that of Matisse.

Mature Period

André Derain Photo

After completing his military service, Derain spent the summer of 1905 working with Matisse in Collioure. That same year he joined him and a group of other friends in exhibiting at the Salon d'Automne in Paris. There, work was collected in a space that art critic Louis Vauxcelles famously called the 'Gage aux Fauves' (Cage of Wild Beasts). While the term was meant to mock the artists' work as childlike, and to degrade their value, Derain still managed to sell four of his exhibited paintings. Soon afterward, Matisse introduced Derain to Ambrose Vollard, who bought the contents of his studio, giving him the means to continue his career.

Derain's Fauvist paintings are his best-known and include landscapes and portraits characterized by intense colors and simplified, decorative forms. At this point in his career, he believed Fauvism was the answer to his search for a permanent artistic form.

In 1907 he moved to Montmartre and spent time at Le Bateau-Lavoir, where many well-known twentieth-century artists, including Picasso, resided. Once there, he married Alice Prense, who was described as a laid back, beautiful woman and was nicknamed "La Vierge" (the Holy Virgin). Apparently her personality was quite different from that of Derain. Picasso's mistress described him as: "Slim, elegant, with a lively color and enameled black hair. With an English chic, somewhat striking. Fancy waistcoats, ties in crude colors, red and green. Always a pipe in his mouth, phlegmatic, mocking, cold, an arguer."

Later that year Derain went to Avignon with Picasso. Again, as with Matisse and Vlaminck earlier, it is thought that Picasso influenced Derain's change in style. But in fact, Derain showed an interest in Cubism's geometric aspect while in London earlier that year, before the trip to Avignon, and his fascination with African masks, which he described as "amazing, wildly expressive," began with those he saw there in the Negro Museum. Although the artist's exploration of Cubism was short-lived and is sometimes overlooked, Derain continued to work alongside Braque and Picasso until 1910. At that time his views on Cubism changed and he rejected their vision and what he'd at first admired, writing: "Cezanne disturbs me. His efforts to achieve perfection are incompatible with the liberty of human thought. He has been searching for the absolute, which inhibits the natural flowering of life. Over-indulgence in reality spells death."

By 1913 Derain had returned to his search for esoteric knowledge, and began to work in what might be called a "gothic style," characterized by an ascetic use of color and a mixture of Romanesque, Byzantine, and Cubist formal elements. His exploration of this particular style would later influence the Italian group known as the Valori Plastici.

In 1914, the artist was mobilized yet again and served in the military until 1919. During this period he continued to work when he could, and even managed to illustrate André Breton's book, Mont de Piete. Upon leaving the army, he began work as a set designer in the theater and was responsible for designing at least eleven ballets. During this next period he abandoned many of his former artistic friends and instead, became active in aristocratic circles. His career flourished and in 1928 he was awarded the Carnegie Prize.

Late Years and Death

André Derain Portrait

By the 1930s Derain had publicly condemned modern art and returned to the classical tradition. The 1931 publication of a book of essays titled Pour et Contre Derain (For and Against Derain) featured an essay by artist Jacque-Emile Blanche denouncing the artist's newly adopted style: "Youth has departed; what remains is a highly cerebral and rather mechanical art." In 1935, despite being ostracized from the avant-garde community, he was given a retrospective at the Kunsthalle in Bern and was included in the Exposition des Artistes Independants in 1937.

Derain had a home in Chambourcy with his wife but continued to paint in his apartment in Paris where he would meet with mistresses, with one of whom he had an illegitimate son. When his Chambourcy home was occupied by Germans at the beginning of the Second World War he moved to Paris and resided either at the apartment he shared with his wife or at his mistress's home.

The Germans were interested in Derain's Classicistic works, as they believed them representatives of prestigious French culture. Although he rejected the official commission to paint the family of Hitler's Foreign Minister Ribbentrop, he accepted an invitation to tour Germany in 1941 and eventually became quite involved in Germany's "propaganda machine." Following the liberation, the French considered him a traitor. When questioned regarding his support of the Reich, Derain denied helping the Germans and said "he had gone because he felt that art had nothing to do with politics, was, in fact, above it."

While his reputation never recovered, he continued to work in Chambourcy, where he resided with his wife and son, who he'd officially adopted. Following the birth of a second illegitimate child, Derain and Alice separated and she attempted to seize control of their finances. In 1953 Derain fell ill, dramatically affecting his vision. Although he recovered, he was hit by a truck and died shortly thereafter on September 8, 1954.


Legacy

Derain received a great deal of recognition during his lifetime. The range of styles he adopted over the course of his artistic career influenced a great many artists and many of the most significant artistic movements of the early twentieth century. His part in the development of Fauvism is usually ignored, his influence on that of Cubism overlooked, yet he profoundly affected both movements.

Derain's reference to an aesthetic basic to Cubism, even before he purchased the African mask that would became one of the talismans of inspiration for the movement, early in 1906, indicates his important role in the style's development. "It is absolutely essential for us to break off the circle the Realists have locked us into. I've been rather moved by my visits around London and to the National Museum (National Gallery), as well as to the Negro Museum (the anthropological collection of the British Museum.) It's amazing, disquieting in expression. But there is a double reason behind this surfeit of expression: the forms issue from full outdoor light and are meant to be seen in full light... It is thus understood that the relations between volumes can express light or the coincidence of light with this or that form."

Affirmation of his pivotal role is given in Apollinaire's attribution of the "almost immediate birth of Cubism to the closeness of Picasso and Derain in 1906" and contemporary critic John Golding's confirmation that "what gives Derain a place as a true forerunner of Cubism is that he was the first painter to combine in a single work the influence of Cezanne and Negro Art."

Derain's need for independence eventually led him to reject many of the more innovative styles he'd espoused early on yet his continual attempt to update his work led to changes that would have a lasting effect on future movements like Expressionism, Neo-Fauvism, and Surrealism. According to André Salmon "he was the figure to whom young artists looked to for instruction" and Clive Bell identified him as "the greatest power amongst young French painters." Giorgio de Chirico described him as "the only painter today who has made some contributions" and Giacometti wrote, "Derain excites me more, has given me more and taught me more than any painter since Cezanne; to me he is the most audacious of them all." In an unpublished note, Alfred H. Barr, Jr. commented: "Ironically, about the time of his death, his early paintings, the brilliant, spontaneous, semi-abstract fireworks of his fauve period, 1905-1906, were rocketing to heights of esteem, partly because they seemed related to the abstract expressionist art of the 1950s, partly because they were gay and charming in color."

Influences and Connections

Influences on artist

Artists, Friends, Movements

Influenced by artist

Artists, Friends, Movements

André Derain
Interactive chart with André Derain's main influences, and the people and ideas that the artist influenced in turn.
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View Influences Chart

Artists

Raphael
Georges Seurat
Paul Signac
Camille Corot
Paul Gauguin

Friends

Émile Zola
Pablo Picasso
Henri Matisse
Paul Cézanne

Movements

Post-Impressionism
Primitive Art
André Derain
André Derain
Years Worked: 1898 - 1953

Artists

Maurice de Vlaminck
Giorgio de Chirico
Wassily Kandinsky
Ernst Ludwig Kirchner

Friends

Guillaume Apollinaire
Ambroise Vollard
Clive Bell
Alfred H. Barr, Jr.

Movements

Expressionism
Surrealism
Valori plastici

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Cite this page

Content compiled and written by Sheryl Siclari-Ostyn

Edited and revised by Caroline Igra

" Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Sheryl Siclari-Ostyn
Edited and revised by Caroline Igra
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Useful Resources on André Derain

Books
Websites
Articles
Videos
The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.
biography
Derain

By Gaston Diehl

Derain

By Denys Sutton

André Derain: A painter Through the Ordeal by Fire

By Nina Kalitina and etc.

More Interesting Books about André Derain
The Metropolitan Museum of Art, New York, New York

History and descriptions of works, and artist

Metropolitan Museum of Art

Thomas J. Watson Library, Digital Collections

Guggenheim Museum, New York, New York

The Courtauld Art Gallery, Strand, London

History and current information on the "London Paintings" exhibitions

The Colour of Genius

By Richard Dorment
The Telegraph
December 20, 2005

The Authority of M. Derain

By_author
The New Republic via Old Magazine Artilces.com
March 16, 1921

Gallery View; CONTRASTS IN THE LIFE AND ART OF ANDRE DERAIN

By John Russell
The New York Times, Arts
November 15, 1981

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