André Derain

André Derain was a French painter and sculptor who played a significant role in the development of two major artistic movements in the early 20th century, Fauvism and Cubism.

Biography of André Derain

André Derain was born in the Parisian suburb of Chatou and grew up in a middle-class family. His father, employed as a pastry chef, also served as a municipal councilor. Derain underwent a traditional education at Saint-Croix in Le Vesinet before attending the Lycee Chaptal in Paris. Although he initially pursued engineering studies at the École des Mines in Paris, he abandoned the program in 1898.

The artist later described his educational experience as miserable, stating, "The teachers, ushers, and pupils were a far more bitter memory for me than the darkest hours of my military career." Despite his lack of enthusiasm for formal education, he excelled in drawing, earning an award for his skill in 1895.

Maurice de Vlaminck and Henri Matisse are often attributed to influencing Derain's choice to abandon school and pursue an artistic career; however, this is not accurate. Derain displayed remarkable drawing and painting skills from the age of fifteen. During this time, he and his friend Le Noe initiated their artistic studies under the guidance of Father Jacomin and his sons.

Derain continued in this studio until 1898 when he joined the Paris studio of the Symbolist painter Eugene Carriere. Matisse entered the same studio a few months later, and while Matisse, being eleven years older, is considered Derain's teacher, their relationship was more collaborative. Shortly after joining Carriere's studio, Derain also encountered Vlaminck, and the two quickly formed a close friendship. Derain's parents disapproved of the bond with the "bohemian anarchist" Vlaminck, and he was banned from their household.

The artist was recognized for his rebellious nature. On one occasion at the Louvre, he painted his version of Ghirlandaio's "Bearing the Cross," offending the attendants. Following a scuffle, he was expelled from the museum.

Derain early artistic career was put on hold when he was called up for military service in 1902. Despite the limited production of artworks during this period, he maintained correspondence with Vlaminck, frequently discussing art. His comments about his evolving stylistic interests, pivotal in the Fauvist movement's development, underscore his independent role in shaping the movement, distinct from Matisse's influence.

Following the completion of his military service, Derain spent the summer of 1905 working with Matisse in Collioure. During the same year, he joined Matisse and a group of friends in exhibiting at the Salon d'Automne in Paris. The space where their work was displayed was famously dubbed the 'Gage aux Fauves' (Cage of Wild Beasts) by art critic Louis Vauxcelles. This term was intended to mock the artists' work as childlike and diminish its value, but Derain managed to sell four of his paintings. Subsequently, Matisse introduced Derain to Ambrose Vollard, who purchased the contents of his studio, providing him with the means to continue his artistic career.

Derain's Fauvist paintings, marked by vibrant colors and simplified, decorative forms, are his most renowned works, encompassing landscapes and portraits. During this phase of his career, he considered Fauvism as the solution to his quest for a lasting artistic form.

In 1907, Derain relocated to Montmartre, spending time at Le Bateau-Lavoir, a residence for numerous well-known 20th-century artists, including Picasso. During this period, he married Alice Prense, described as a laid-back, beautiful woman nicknamed "La Vierge" (the Holy Virgin). 

Later in the same year, Derain accompanied Picasso to Avignon. Contrary to the belief that Picasso influenced Derain's change in style, Derain had already shown an interest in Cubism's geometric aspect during a visit to London earlier that year. His fascination with African masks, described as "amazing, wildly expressive," had started with those he encountered at the Negro Museum. While Derain's exploration of Cubism was brief and sometimes overlooked, he collaborated with Braque and Picasso until 1910. At that point, his perspective on Cubism shifted, leading him to reject their vision and what he had initially admired.

By 1913, Derain returned to his quest for esoteric knowledge and began working in what could be termed a 'gothic style,' marked by an ascetic use of color and a blend of Romanesque, Byzantine, and Cubist formal elements. This particular style of exploration would later influence the Italian group known as the Valori Plastici.

In 1914, Derain was mobilized once again, serving in the military until 1919. Despite his military service, he continued to work when possible, even illustrating André Breton's book, "Mont de Piete." After leaving the army, he ventured into set design in the theater, contributing to at least eleven ballets. During this period, he distanced himself from many former artistic friends, becoming active in aristocratic circles. His career thrived, and in 1928, he was honored with the Carnegie Prize.

By the 1930s, Derain had openly denounced modern art and returned to the classical tradition. In 1931, the publication of a book of essays titled "Pour et Contre Derain" (For and Against Derain) included an essay by artist Jacque-Emile Blanche criticizing the artist's newly embraced style. Despite being ostracized from the avant-garde community, he received a retrospective at the Kunsthalle in Bern in 1935 and was featured in the Exposition des Artistes Independants in 1937.

Derain had a residence in Chambourcy with his wife but continued to paint in his Paris apartment, where he met with mistresses, one of whom bore him an illegitimate son. When the Germans occupied his Chambourcy home at the beginning of the Second World War, he relocated to Paris, residing either at the apartment he shared with his wife or at his mistress's home.

The Germans were interested in Derain's Classicistic works, viewing them as representatives of prestigious French culture. Despite rejecting an official commission to paint the family of Hitler's Foreign Minister Ribbentrop, he accepted an invitation to tour Germany in 1941 and eventually became involved in Germany's propaganda efforts. After the liberation, the French considered him a traitor.

Although his reputation never fully recovered, Derain persisted in his work in Chambourcy, where he lived with his wife and officially adopted son. After the arrival of a second illegitimate child, Derain and Alice separated, and she sought control of their finances. In 1953, Derain fell ill, experiencing a significant impact on his vision. Although he recuperated, he was struck by a truck and passed away shortly in 1954.

André Derain's Art Style

André Derain, alongside Matisse, co-founded the Fauve artistic movement. Despite his fascination with the contemporary world, a common theme among artists of his time, he sought to elevate the expressive qualities of paint. His works are distinguished by dense, vibrant brushwork that captivates the viewer's attention as much as the subject itself.

Inspiration for Derain's interest in primitive masks arose from an exhibit at the Negro Museum in London. He became one of the earliest collectors of tribal art from Africa, likely influencing Cubist artists like Picasso and Braque in their fascination with primitive elements. Though briefly intrigued by Cubist stylistic elements, Derain's exploration of it was short-lived.

In his quest for art with intrinsic value, transcending the need for context and holding meaning for any generation aligned Derain with the Symbolism school. His decorative paintings, celebrating the beauty of nature and individuals enjoying it, differ markedly from the realistic depictions of modern life by the Impressionists preceding him. His focus lies in the canvas's described beauty, devoid of specific details, indicating a preference for the idealism of Classical Art.