安德烈·德兰《花园》（Le jardin，纽约佳士得2002）

安德烈·德兰花园 Le jardin 纽约佳士得2002.11成交价59.25万美元

作品介绍

Michel Kellermann has confirmed the authenticity of thispainting.

Derain's first documented paintings date from around 1895,when the artist was only fifteen years old. Living with his parentsin Chatou, a small town on the Seine west of Paris, Derain studiedinformally with a local painter named Jacomin, and at the LycéeChaptal in Paris, where he received prizes in drawing and naturalscience. In 1895 his parents sent him to an engineering college inParis. Derain ignored his studies to paint on the banks of theSeine and to explore the Louvre, where he was especially drawn tothe Italian primitives of the 14th and 15th centuries.

One day in 1899 while strolling in the museum he met an oldfriend from the Lycée Chaptal, the painter Georges Linaret, who wascopying an Uccello in pure colors taken straight from the painttubes. He was following the example of Paul Sérusier's Le talisman,which was painted in Pont-Aven under the guidance of Gauguin in1889 and had become a rally point of the Nabi movement during the1890s. Linaret introduced Derain to Georges Rouault and HenriMatisse, who had been pupils of Gustave Moreau at the Ecole desBeaux-Arts, and after the death of their teacher in 1898,transferred to the studio of Eugène Carrière. Derain joined them,and decided to devote himself entirely to painting.

Matisse was eleven years older than Derain, and provideduseful guidance to the young painter, who was not yet 20 years old.Derain followed Matisse's advice to copy Old Masters in the Louvre,but more importantly he was drawn to the pure color and expressive,improvised brushwork in the older artist's plein-air landscapes andtable-top still lives. The summery river scenes that Derain paintedin Chatou in 1899 display his familiarity with the flat, simplifiedlandscape forms and the vivid but gently modulated color harmoniesof Nabi painting (Kellermann, nos. 3-10). Very abruptly, however,at some time in the fall or later in 1899, he painted the presentwork in a new and more vigorous manner that recalls the paintingsof Matisse during the same period. He quickly closed the gap withthe most progressive painters of his day, and presaged the look ofthings to come.

Indeed, the present painting might easily be mistaken for onedone on the eve of the Fauve movement, which was still five yearsin the future. Here Derain painted with pure colors or those mixedonly with white, laying warm tones alongside or directly over coolcolors, sometimes mixing them directly on the canvas. Hemanipulated complementary colors, playing off greens against deepalizarin crimson, blues against cadmium reds and oranges, and useda neutral beige mixture in the house at right to counter balancethe overall brilliance of his palette. He outlined the houses andtrees in quickly-drawn strokes of black and Prussian blue, andelsewhere allowed the white ground of the canvas to formtransitions between adjoining areas of contrasting color. In mannerthat strikingly foretells his later Fauve practice, he divides thetree trunks and branches into individual colors, using orange,olive green and dark red. In his previous paintings Derain employeda blandly consistent brushstroke across the entire canvas. Here, bycontrast, he painted quickly and excitedly in broken, staccatostrokes, achieving a spontaneous look that overcomes any previoustendency to hesitation or cautiousness. While his earlier picturessuffered from too much finish, as if the artist were compelled tocover every bit of canvas in a uniform layer of paint, in Le Jardinhe is unconcerned about leaving thinly worked passages (such as inthe sky or in the house at left), and actually makes them anessential aspect in the appearance of the picture.

The present painting stands out among Derain's efforts in1899, and looks forward immediately to the paintings he did in 1900and 1901. He achieved this significant advance before the fatefulday in June 1900 when his commuter train from Paris to Chatouderailed, and he decided to walk home with Maurice de Vlaminck,another resident of Chatou he had not previously met but whohappened to be on the same train. Each was delighted to learn theother was a painter, and they set out the next day to paint side byside at the river's edge. Derain's obligation to perform militaryservice forced a hiatus in his painting that lasted from September1901 to September 1903, but thereafter he resumed his partnershipwith Vlaminck, and their "School of Chatou" became one of theprimary catalysts in the emergence of the Fauve movement.

The first private owner of this painting was the renownedIrish-American collector John Quinn (1874-1924). His New York lawpractice made him a significant force in finance, public andcultural affairs, and in 1913 Quinn helped to organize the famousNew York Armory Show that brought large numbers of pictures bymodern French artists to America for the first time. He patronizedthe galleries that opened in New York to handle this new art, suchthe Bourgeois Gallery, The Carroll Gallery, The Washington SquareGallery and Stieglitz's famous Gallery 291. He made his firstbuying trip to Europe in 1911, and began by acquiringPost-Impressionist Art, and then moved on to collect Matisse andPicasso. His agents bought heavily in Paris during the First WorldWar, when artists and dealers there had few outlets for theirpictures. The present painting was acquired from his estate acouple of years after his death, and the majority of his collectionwas sold at auction in Paris in October 1927.

参考译文

米歇尔·凯勒曼证实了这幅画的真实性。

德兰的第一幅有文件记载的绘画可以追溯到1895年左右，当时这位艺术家只有15岁。德兰和父母住在位于巴黎西部塞纳河上的小镇查头，与当地画家雅各明(Jacomin)和巴黎的莱塞·查普塔尔(LycéeChaptal)一起非正式学习，在那里他获得了绘画和自然科学奖。1895年，他的父母把他送到巴黎的一所工程学院。德兰忽视了他在塞纳河河岸上绘画和探索卢浮宫的研究，在卢浮宫，他特别被14和15世纪的意大利原始人所吸引。

1899年的一天，当他在博物馆散步时，他遇到了一位来自莱塞·查普塔尔的老朋友，画家乔治·利纳雷特(GeorgesLin雷特)，当时他正用从油漆管上直接取下来的纯颜色的乌赛罗(Uccello)。他是以保罗·塞鲁西耶为榜样勒沃斯曼它是在1889年高更的指导下在庞-阿文画的，并在19世纪90年代成为纳比运动的一个集结点。利纳雷特将德兰介绍给乔治·鲁奥(GeorgesRouault)和亨利·马蒂斯(Henri Matisse)，这两人曾在博克斯艺术学院(Ecole desBeaux-Arts)就读古斯塔夫·莫罗(GustaveMoreau)，1898年他们的老师去世后，他们被转到欧热妮·卡@@德兰加入了他们的行列，并决定全身心地投入到绘画中去。

马蒂斯比德兰大11岁，为这位年轻的画家提供了有用的指导，他还不到20岁。德兰遵循马蒂斯的建议，在卢浮宫模仿老大师，但更重要的是，他被这位老艺术家的纯色、表现力和即兴创作所吸引。弹弓风景和桌面还活着。1899年德兰在查头所画的夏日河流场景显示了他对平面的、简化的景观形式和纳比绘画生动但柔和的调色和声的熟悉(凯勒曼，诺斯)。3-10)。然而，在1899年秋天或以后的某个时候，他突然以一种新的、更有活力的方式画出了马蒂斯在同一时期的绘画作品。他很快就与他那个时代最进步的画家们缩小了差距，并预示着未来事物的面貌。

事实上，现在的这幅画很容易被误认为是在“自由”运动的前夕完成的，这场运动还有五年的时间。在这里，德兰用纯颜色或那些只与白色混合的颜色，把温暖的色调与冷色并排或直接覆盖在画布上，有时将它们直接混合在画布上。他操纵着互补的颜色，把绿色和深茜素深红色、蓝色与镉红色和橘子混合起来，在房子右边用一种中性的米色混合物来平衡他的调色板的整体光泽。他用迅速绘制的黑色和普鲁士蓝色的笔画勾勒出房屋和树木，并在其他地方允许画布的白色地面在相邻的颜色对比区域之间形成过渡。他把树干和树枝分割成不同的颜色，用橙色、橄榄绿和深红，以惊人的方式预言了他后来的Fauve练习。在他以前的画中，德兰用了一种平淡而一致的笔触，贯穿了整个画布。相比之下，在这里，他用断断续续的笔触快速而兴奋地作画，表现出一种自发的表情，克服了以前任何犹豫或谨慎的倾向。他以前的画涂鸦太多了，仿佛艺术家不得不用一层均匀的油漆把每一小块画布都盖上。乐怡他不关心离开工作很少的通道(例如在天空或在房子的左边)，实际上，他们是一个必不可少的方面，在外观的图片。

这幅画在1899年德兰的努力中脱颖而出，并期待着他1900年和1901年的作品。在1900年6月的那一天，他的通勤列车从巴黎开往查头时出轨，在这一天之前，他取得了这一重大进展，于是他决定和莫里斯·德·弗拉明克(MauriceDeVlaminck)一起回家，他以前没有见过他，但碰巧在同一列火车上。两个人都很高兴地知道另一个是画家，第二天他们就开始在河边并排画画。德兰服兵役的义务迫使他的绘画中断，从1901年9月到1903年9月，但此后他恢复了与弗拉明克的伙伴关系，他们的“查头派”成为“佛运动”出现的主要催化剂之一。

这幅画的第一个私人所有者是著名的爱尔兰裔美国收藏家约翰·奎因(1874-1924)。他在纽约的法律实践使他成为金融、公共和文化事务方面的一支重要力量。1913年，奎恩帮助组织了著名的纽约军械库展览，首次将现代法国艺术家的大量作品带到了美国。他光顾了在纽约开设的画廊来处理这种新的艺术，如布地里斯画廊、卡罗尔画廊、华盛顿广场画廊和斯蒂格利茨著名的291画廊。1911年，他第一次去欧洲买东西，一开始是收购后印象派艺术，然后开始收集马蒂斯和毕加索。第一次世界大战期间，他的经纪人在巴黎大量购买，当时艺术家和经销商几乎没有出售他们的照片的渠道。这幅画是在他去世几年后从他的遗产中买来的，1927年10月，他的大部分藏品在巴黎拍卖。

画家简介

安德烈·德兰(AndréDerain，1880-1954)，法国画家、雕塑家。是野兽主义最重要的实践者之一，是20世纪初期革新性绘画的先驱和现代艺术运动最杰出的人物之一。他和亨利·马蒂斯（HenriMatisse）、莫利斯·德·弗拉芒克（Maurice deVlaminck）是野兽派绘画最重要的领袖和缔造者。他还是出色的舞台美术家和服装设计师。

1898年，德兰放弃了他的工程学研究，开始绘画。他在卢浮宫画素描时开始进入卡早埃学院学画。他最初深受保罗·塞尚的影响，后来被梵高在加莱丽·伯恩海姆-杰恩展览上的作品迷住了。在最初的几年里，他与查图的莫里斯·德·弗拉芒克合租了一间工作室，并与亨利·马蒂斯有着密切的关系。1905年夏天，他在科利乌尔（Collioure）与亨利·马蒂斯(HenriMatiss）在保罗·塞尚绘画的影响下，德兰在画布上直接用纯色的管子涂抹，他运用强烈的色彩大胆描绘出简洁化的绘画，画布上有一片白色的地面，刷上厚厚的方形毛笔，使画图表面呈现出马赛克的样子。1905年，当德兰的作品与马蒂斯、弗拉芒克和其他年轻艺术家的作品同时展出时，他们被评论家路易斯·沃克斯塞勒斯描述为“野兽”。野兽派艺术因此诞生。

商人安布罗斯·沃拉德于1906年3月至1907年2月将德兰派往伦敦，以重复几年前克劳德·莫奈在泰晤士河上的经历。他在英国首都画的作品标志着他的野兽主义时期的高度。

1906年，德兰开始频繁接触蒙马特的知识分子群体，包括马克斯·雅各布、安德烈·萨尔蒙和纪尧姆·阿波罗内等人。1907年他与乔治·布拉克和巴勃罗·毕加索成为朋友，他和他们分享了他对原始艺术的新兴趣，这影响了他的石雕，这一年他完成了他最早的雕塑作品。1908年，他摧毁了他的大部分作品，集中在塞尚的建构主义的基础上的一系列景观，以及布拉克和毕加索早期立体派的某种影响。德兰的油画肖像和风景是由强烈明亮的对比色块组成的，他把一管管的油彩比喻为一支支炸药。虽然在立体主义阶段，他运用色彩较为克制，但从未像毕加索、布拉克那样忽视色彩的意义。第一次世界大战期间从前线服役四年回来后，德兰抛弃立体主义，迷恋于意大利和德国早期文艺复兴的艺术。他的画变得更加古典，并受到让-巴蒂斯特-卡米尔·科罗和古典主义大师的影响。

（阴山工作室根据西班牙提森-博内米萨国家博物馆资料编写）

参阅阴山工作室法国野兽派领袖安德烈·德兰(AndréDerain）作品集

作品资料

Andre Derain (1880-1954)

Le jardin

成交总额USD 592,500

估价USD 250,000 - USD 350,000

拍卖 1148

Impressionist and Modern Art (Day Sale) andImpressionist

纽约|2002年11月7日

拍品 246

signed and dated 'A Derain 99' (lowerleft)

oil on canvas

29 5/8 x 35¼ in. (75.3 x 89.5 cm.)

Painted in 1899

来源

Bourgeois Galleries, New York.

John Quinn, New York (acquired from the above, circa1916).

Private collection, Buffalo (acquired from the estate of theabove, 1926).

Albright-Knox Art Gallery, Buffalo (bequest from the above,1966).

Reacquired in an exchange with the above by the late heir ofthe bequeather to the Albright-Knox Art Gallery,1979.

展览历史

New York, Museum of Modern Art, Summer Exhibition:Retrospective, June 1930, no. 29.

Cincinnati Art Museum, An Exhibition of Painting by AndréDerain, December 1930-January 1931, no. 20.

New York, Museum of Modern Art, Summer Exhibition: Paintingsand Sculpture, 1932.

Pittsburgh, Carnegie Institute, International Exhibition ofPaintings, 1939, no. 239.

Washington, D.C., Hirshhorn Museum and Sculpture Garden, "TheNoble Buyer": John Quinn, Patron of the Avant-Garde, June-September1978, p. 154.