野兽派领袖弗拉芒克《树下的蓝色房子》（伦敦佳士得2013）

阴山工作室 2018-06-26

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弗拉芒克树下的蓝色房子 Arbres à la maison bleue 伦敦佳士得2013.2 成交价340.125万英镑

作品介绍

Maurice de Vlaminck painted Arbres à la maison bleue in 1906, when the Fauvism which he had helped to pioneer was at its apogee. It was only the previous year that he had exhibited his bold, colouristic works at the Salon d'Automne, causing extreme reactions in the viewers ranging from rage to fascination. Taking his cue in part from the works of Vincent van Gogh, Vlaminck sought to create pictures that were filled with colour, life and beauty. This is clearly the case in Arbres à la maison bleue, which features a range of bold areas of colour, many of them deliberately eschewing any sense of volume or modelling. Instead, the trees are represented with the brown of the bark and the yellow and green of the leaves; the house in the background is white, topped with its blue roof, while the water in front of it has been captured through the depiction of the building's reflection.

弗拉芒克树下的蓝色房子 Arbres à la maison bleue 局部

While Arbres à la maison bleue clearly shows the Fauve aesthetic at work, it also hints at Vlaminck's increasing interest in pictorial structure: the composition appears constructed and recalls the paintings of Paul Cézanne such as his Château de Medan, now in the Burrell Collection, Glasgow. Cézanne would die at the end of 1906; his posthumous retrospective the following year would lead to a sea-change in Vlaminck's paintings and precipitated the rapid end of his involvement in Fauvism. Intriguingly, Cézanne's influence appears hintingly revealed, or at least anticipated, in the composition of Arbres à la maison bleue.

There are relatively few paintings extant from Vlaminck's Fauve period precisely because of the speed with which his style changed after exposure to Cézanne's works in the 1907 exhibition. Looking at La maison dans les arbres of 1908, now in the Musée national d'Art moderne, Centre Georges Pompidou, Paris, this new-found interest in the structure of the picture is clearly in evidence. The palette had already been leeched of the vivid colourism which is still in evidence in the warm tones of Arbres à la maison bleue, despite the similarities of their themes, with houses in the background and trees in the foreground. By 1908, Vlaminck had seen and absorbed the large-scale retrospective of the previous year. However, by the time he painted Arbres à la maison bleue, Vlaminck would doubtless already have been exposed to Cézanne's works: a small selection had been shown at the Salon d'Automnes of 1905 and 1906, in which Vlaminck himself participated.

弗拉芒克树下的蓝色房子 Arbres à la maison bleue 局部

The rarity of Vlaminck's Fauve pictures is all the more extreme because, at the beginning, he had been unable to afford painting materials and therefore had to re-use canvases in many cases. The 1905 Salon d'Automne marked the moment that Vlaminck charged onto the stage of the Parisian avant garde, despite remaining firmly ensconced in the suburbs of the French capital such as Chatou, where he painted the Seine, his greatest Muse. However, it was at the beginning of 1906 that he sold his pictures to the dealer Ambroise Vollard. Looking back on this period, Vollard would recall meeting Vlaminck without knowing him, describing 'a tall, powerful fellow whose red scarf, knotted round his neck, might have suggested some militant anarchist, if, from the way in which he was carrying a canvas, I had not immediately recognised him for an artist.' Vollard said the picture Vlaminck was carrying 'appeared to have been squeezed out of tubes of paint in a fit of rage. The effect was startling. The man with the red scarf had kind, peaceable eyes, but one expected to see him bellow, "If anyone laughs at my painting, I'll bash his face in."' Vollard was later brought to Vlaminck's studio by Henri Matisse, the older artist who had found that Vlaminck and his friend André Derain had been working along similar lines to the developments in his own works at the time:

'What was my surprise the day Matisse took me to Vlaminck's studio! Here was the painter with the red scarf. This time he was wearing a wooden tie of his own invention, the colours of which he changed to suit his fancy. The landscapes covering the walls of the studio were so many challenges to the bourgeois whose idea of nature is of something tame and tidied up. Nevertheless, far from being put off by this outrance, I bought everything Vlaminck showed me' (A. Vollard, Recollections of a Picture Dealer, trans. V.M. MacDonald, New York, 2002, pp. 200-01).

弗拉芒克树下的蓝色房子 Arbres à la maison bleue 局部

This occurred in May 1906, and resulted in a great release in Vlaminck's works: he was now able to contemplate living as an artist and giving up working as a professional violinist. As he explained: 'Once my means allowed me to buy canvases, I experienced a physical pleasure when applying colours. As I had no obligations attendant on me, nor did I contemplate having to obey any rules, and I had not a care in the world about what others thought of me, I allowed my revolutionary instincts to run free, without any set idea except that of enjoying myself and of "wasting my time", as my father so ably put it!' (Vlaminck, quoted in M. Vallès-Bled, Vlaminck, Catalogue critique des peintures et céramiques, vol. I, La période fauve, 1900-1907, Paris, 2008, p. 182).

Judging by its autumnal colours, Arbres à la maison bleue would appear to have been painted sometime after Vollard's purchase of the contents of Vlaminck's studio, which took place in May 1906; indeed, it may date from after the second show of Cézanne's works in the Salon d'Automne (but is still crucially from before the watershed of the major retrospective of the following year). After all, there is a vivid contrast in the treatment of the subject in this picture and in La maison bleue, often ascribed to 1906 but recently given a date of 1905 in the new catalogue raisonné. That picture, now in the Minneapolis Institute of Arts, shows the tendril-like trees in the foreground forming organic counterpoints to the rigidity of the angular building, as is the case in Arbres à la maison bleue, yet has a more frantic air about it, with the incandescent colour flung energetically onto the canvas. Similarly, Le jardin, titled Jardin public à Carrières-Saint-Denis when it was sold in Christie's New York in 1999, involves heady swirls of colour that are less evident in the more composed yet nonetheless vivid Arbres à la maison bleue. This picture instead relates more closely to Les arbres rouges, also of 1906 and likewise suffused with autumnal hues, which is now in the Musée national d'Art moderne, Centre Georges Pompidou, Paris.

弗拉芒克树下的蓝色房子 Arbres à la maison bleue 局部

Arbres à la maison bleue was formerly owned by Knud Abildgaard, a prominent Danish industrialist who for many decades helmed the company LEO Pharma, which had been founded in 1908 by his father-in-law, August Kongsted. Abildgaard was a philanthropist who, in 1984, set up the LEO Foundation. In a move that echoed that of his fellow Danes, the Carlsbergs, earlier in the Twentieth Century, Abildgaard left the company that had allowed him to set up the foundation in its entirety to that foundation. This has allowed LEO Pharma to operate as a not-for-profit organisation, creating a platform which has allowed them to carry out groundbreaking research. Abildgaard was also a significant collector, owning works by Georges Braque and Kees van Dongen as well as Vlaminck.

弗拉芒克树下的蓝色房子 Arbres à la maison bleue 局部

参考译文

1906年，莫里斯·德·弗拉芒克(Maurice De Vlaminck)画了阿尔布雷斯(Arbresàla maisonbleue)，当时他曾帮助开创的福维主义(Fauvism)就在就在前一年，他在“汽车沙龙”上展示了他大胆的、色彩丰富的作品，在观众中引起了从愤怒到迷恋的极端反应。Vlaminck在一定程度上借鉴了梵高的作品，他试图创作出充满色彩、生命和美的图画。这显然是在Arbresàla maison bleue，它的特点是一系列大胆的颜色领域，其中许多故意避开任何感觉的体积或造型。相反，树是以树皮的棕色和树叶的黄色和绿色来表示的；背景中的房子是白色的，顶部是蓝色的屋顶，而前面的水则是通过描绘建筑物的倒影来捕捉的。

虽然《树下的蓝色房子》清楚地展示了野兽派美学的作用，但它也暗示了弗拉芒克对图案结构的日益浓厚的兴趣：这一构图似乎是被构造出来的，并让人想起保罗·塞尚(Paul Cézanne)的绘画作品，比如他现在格拉斯哥伯勒尔藏品(Burrell Collection，Glasgow)中的“麦丹庄园”。塞尚将于1906年年底去世；他于第二年去世的回顾展将导致弗拉明克的绘画发生翻天覆地的变化，并促使他迅速结束对浮华主义的参与。有趣的是，塞尚的影响似乎隐晦地揭示了，或者至少是预期到的，在阿尔比尔斯的组成中。

弗拉芒克树下的蓝色房子 Arbres à la maison bleue 局部

Vlaminck‘s Fauve时期的绘画作品相对较少，正是因为他在1907年的展览中接触了塞尚的作品后，风格发生了迅速的变化。看看1908年的La maison dans les arbres，现在位于巴黎Georges Pompidou中心的Musée National d‘Art Medine，这种新发现的对这幅画的结构的兴趣显而易见。调色板已经被生动的彩色旅游所吸引，尽管它们的主题相似，背景是房屋，前景是树木，但这种色彩仍然以阿尔比雷斯·拉米森·布鲁(Arbresàla maison bleue)的温暖色调出现。到1908年，弗拉明克看到并吸收了前一年的大规模回顾.然而，当他画《树下的蓝色房子》时，弗拉芒克无疑已经接触了塞尚的作品：1905年和1906年弗拉芒克本人参加的自动化沙龙展示了一个小的选择。

弗拉芒克的野兽主义绘画的稀有性更加极端，因为在开始的时候，他买不起绘画材料，因此在许多情况下不得不重复使用画布。1905年的“汽车沙龙”标志着弗拉芒克登上巴黎先锋派舞台的那一刻，尽管他仍然牢牢地栖身在法国首都查头等法国首都的郊区，他在那里画了塞纳河，他最伟大的缪斯之神。然而，在1906年年初，他把他的照片卖给了经销商安布罗斯·沃拉德。回想起这段时间，沃拉德会回忆起在不认识他的情况下遇见了弗拉明克，他说：“一个高大而有权势的家伙，他的红围巾系在脖子上，可能暗示过一些激进的无政府主义者，如果从他拿着画布的方式来看，我没有立刻认出他是个艺术家。”沃拉德说，弗拉芒克携带的这张照片“似乎是在愤怒中被挤出油漆管道”。效果令人吃惊。那个戴着红领巾的人有一双和蔼而平和的眼睛，但有人希望看到他大喊大叫：“如果有人嘲笑我的画，我就揍他的脸。”后来，老艺术家亨利·马蒂斯(Henri Matisse)把沃拉德带到了弗拉明克的工作室。马蒂斯发现，弗拉明克和他的朋友安德烈·德兰(AndréDerain)的作品与当时自己作品的发展有着相似之处：

“马蒂斯带我去Vlaminck的工作室那天，我有什么惊喜呢？”这是那个戴着红围巾的画家。这一次，他戴着一条自己发明的木制领带，他改变了颜色，以适应自己的喜好。工作室墙壁上的风景对资产阶级来说是如此多的挑战，他们对自然的看法是一种驯服和整理的东西。尽管如此，我并没有因此而退缩，我买下了Vlaminck给我看的所有东西‘(A.Vollard，一位图片交易商的回忆)。V.M.Macdonald，纽约，2002年，第200至01页)。

这发生在1906年5月，并在Vlaminck的作品中得到了很大的释放：他现在能够考虑作为一名艺术家生活，并放弃作为专业小提琴家的工作。正如他所解释的：“一旦我的经济能力允许我买画布，我就会在使用颜色时体验到身体上的乐趣。”由于我没有任何义务伴随着我，我也没有考虑过要遵守任何规则，而且我在这个世界上也不关心别人对我的看法，所以我允许我的革命本能自由运行，除了享受自己和“浪费我的时间”之外，我没有任何固定的想法，正如我父亲所说的那样！(Vlaminck，引自M.Vallès-Bled，Vlaminck，目录评论，Peintures et céramiques，第二卷。i，La période Fauve，1900-1907，巴黎，2008年，p。182)。

弗拉芒克树下的蓝色房子 Arbres à la maison bleue 局部

从秋季的色彩来看，阿尔布雷斯·拉米森·布卢埃(Arbresàla maison bleue)似乎是在沃拉德于1906年5月购买Vlaminck工作室的内容之后的某个时候画的；的确，它可以追溯到塞尚在沙龙第二次展出之后(但仍然是关键的是，从次年主要回顾展的分水岭之前)。毕竟，在这幅画中和在拉米森·布卢埃对这一主题的处理上有着鲜明的对比，这往往被归因于1906年，但最近在新的目录中提出了1905年的日期。这张照片现在明尼阿波利斯艺术学院，展示了前景中的卷须状的树木，形成了与角楼刚性的有机反作用力，就像Arbresàla maison bleue中的情况一样，但它有一种更疯狂的气氛，白炽灯的颜色被有力地投射到画布上。同样，1999年佳士得(Christie)纽约拍卖行(Christie‘s New York)出售时，名为“卡里雷斯-圣丹尼斯”(Jardin publicàCarrières-St-Denis)的勒贾丁(Le Jardin)也出现了令人头晕目眩的色彩漩涡，而这种色彩的漩涡在相反，这幅画与1906年的Les arbres胭脂关系更为密切，同样充满了秋天的色彩，现在位于巴黎乔治·庞皮杜中心的Musée National d‘Art Curne。

arbresàla maison bleue以前是knud abbildgaard的所有者，他是丹麦著名的实业家，几十年来一直执掌着leo pharma公司，该公司于1908年由他的岳父八月孔斯特德创立。Abildgaard是一位慈善家，1984年成立了狮子座基金会。20世纪早些时候，阿比尔德郭尔离开了允许他成立基金会的公司，这一举动与他的丹麦同胞卡尔斯伯格(Carlsbergs)的举动相呼应。这使得利奥制药公司得以作为一个非营利组织运作，创造了一个平台，让他们能够进行突破性的研究。Abildgaard也是一位重要的收藏家，拥有Georges Braque和Kees van Dongen以及Vlaminck的作品。

作品细节

弗拉芒克树下的蓝色房子 Arbres à la maison bleue 局部

画家简介

莫利斯·德·弗拉芒克（Maurice de Vlaminck，1876-1958年），法国画家，野兽派领袖之一。与安德烈·德朗(André Derain)和马蒂斯（Henri Matisse）一起构成了当时野兽派的最重要的三个代表人物。

弗拉芒克出生在法国的巴黎的一个有佛兰德斯血统的音乐世家，爷爷、父亲叔叔都是音乐家。父亲从很小的时候就想要将弗拉芒克培养成为一个音乐家，从小就开始让他学习小提琴，但弗拉芒克却对音乐没有丝毫兴趣，选择了他自己所喜爱的绘画。弗拉芒克狂放不羁，没有受过多少正规教育，也没有拜过什么名师，他的绘画全靠自学和领悟。凡·高是弗拉芒克青年时代崇拜的偶像。他的早期作品色彩鲜艳，他甚至直接使用从颜料管中挤出的颜料，浓墨重彩地作画。32岁时，弗拉芒克开始受到塞尚新见解的影响，但到39岁时又走向一种表现的现实主义。在他全部的艺术生涯中，始终与北欧或德国表现主义有密切的联系。他后来独具特色的风景画和静物画，色调柔和，笔触质感厚重的，把我们带回到17世纪荷兰风景画世界。

野兽主义(Fauvism)是自1898至1908年在法国盛行一时的一个现代绘画潮流。野兽派画家热衷于运用鲜艳、浓重的色彩，往往用直接从颜料管中挤出的颜料，以直率、粗放的笔法，创造强烈的画面效果，充分显示出追求情感表达的表现主义倾向。1900年，弗拉芒克与画家德兰创建了作为野兽派源泉之一的夏特画派。德兰曾在回忆二人的这段交往时写道：“终日沉浸在色彩之中，谈的都是关于颜色的话和使颜色具有生命的太阳。”弗拉芒克则说：“我把全部色调的亮度提高，把我所感觉到的每一件东西都转变成一首纯色的管弦乐曲。”1905年，弗拉芒克参加了巴黎秋季沙龙中第一次“野兽派”联合展，“野兽派”画家们一致认为他是热情的色彩家。他的厚涂法与马蒂斯有所不同，更注重视觉观赏的趣味。到1908年，他已经能够十分娴熟地运用这种厚涂技法，并显示出对塞尚画法的接近。

弗拉芒克是色彩大师，他喜欢用未经调和的油彩，以灿烂厚重著称。他的作品经常运用强烈的色彩对比造成视觉上的冲击，给人以华丽的视觉享受。弗拉芒克曾说：“绘画就好象一个溃疡。它把我心中的邪恶淌完了。如果不是有点绘画天赋的话，我将会是很坏的人……在一个我极可能会弄出丢炸弹的事情的社会里，这将使我被判处死刑。我努力使这股冲动升华为艺术的表现，在绘画中表达出来，我将颜料直接从颜料罐子挤在画布上。如此，我才能够利用我那种破坏的本能去再创一个感性的、生活的、自由的世界。”

作品资料

Maurice de Vlaminck (1876-1958)

Arbres à la maison bleue

成交总额GBP 3,401,250

估价GBP 2,000,000 - GBP 3,000,000

oil on canvas

21½ x 25¾ in. (54.5 x 65.5 cm.)

Painted in 1906

拍卖 1102

Impressionist/Modern Evening Sale

伦敦|2013年2月6日

拍品 27

来源

Knud Abildgaard, Denmark, by circa 1930.

Jytte Abildgaard, Denmark, by circa 1967.

Edgar Batista Fine Arts, New York.

Wildenstein & Co., Inc., New York, by circa 1995.

Acquired from the above by the present owner in 1996.