The Centre Pompidou
4 October 2017 - 29 January 2018
The Centre Pompidou is presenting «André derain 1904 - 1914. La décennie radicale »
(The Radical decade), which takes a fresh look at the work of this major 20th century artist, tracing the various stages of his career before the First world war, when he was involved in the most radical avant-garde movements. Some remarkable groups of work have been brought together for the exhibition: his 1905 summer pieces painted in Collioure; a series of London scenes, and his very large dance and bather compositions.
The art of André Derain has not been the focus of any major monographic exhibitions
since the 1994 retrospective at the Musée d’Art Moderne de la Ville de Paris – in other words, for over twenty years.
This French painter played a crucial intellectual role in the emergence of two major avant-garde movements in the early 20th century: Fauvism and Cubism. Early on, he made a solitary return to realism, foreshadowing all the figurative movements of magic realism from the Ingrism
of Picasso to the metaphysical painting of De Chirico and the New Objectivity of Germany. Derain’s daring, highly inventive pre-war work is fascinating.
Derain, who was close to Maurice de Vlaminck and Henri Matisse, and then Georges Braque and Pablo Picasso, engaged forcefully with Fauvism and Cubism, developing a powerful body of work up to the First World War. He experimented visually in many ways, tackling painting, drawing, xylography, sculpture, ceramics and film, and practised photography throughout his life, along side his painting.
4 October 2017 - 29 January 2018
The Centre Pompidou is presenting «André derain 1904 - 1914. La décennie radicale »
(The Radical decade), which takes a fresh look at the work of this major 20th century artist, tracing the various stages of his career before the First world war, when he was involved in the most radical avant-garde movements. Some remarkable groups of work have been brought together for the exhibition: his 1905 summer pieces painted in Collioure; a series of London scenes, and his very large dance and bather compositions.
The art of André Derain has not been the focus of any major monographic exhibitions
since the 1994 retrospective at the Musée d’Art Moderne de la Ville de Paris – in other words, for over twenty years.
This French painter played a crucial intellectual role in the emergence of two major avant-garde movements in the early 20th century: Fauvism and Cubism. Early on, he made a solitary return to realism, foreshadowing all the figurative movements of magic realism from the Ingrism
of Picasso to the metaphysical painting of De Chirico and the New Objectivity of Germany. Derain’s daring, highly inventive pre-war work is fascinating.
Derain, who was close to Maurice de Vlaminck and Henri Matisse, and then Georges Braque and Pablo Picasso, engaged forcefully with Fauvism and Cubism, developing a powerful body of work up to the First World War. He experimented visually in many ways, tackling painting, drawing, xylography, sculpture, ceramics and film, and practised photography throughout his life, along side his painting.
4
The exhibition focuses on an exploration of Derain’s hitherto unexhibited archives – his photographs,
collections of prints and artwork reproductions, writings and correspondence – and for the first time
sheds considerable light on some of his most iconic works through strong visual counterpoints :
the photographs he took and his atypical artistic references, including Epinal’s engravings,
the Maori objects he copied at the British Museum in 1906, and the African sculptures in his collection.
The exhibition presents around seventy paintings, a large number of works on paper (watercolours, drawings, sketchbooks and engravings), sculptures and some fifty photographs, as well as Maori
and African sculptures and ceramics.
The circuit follows his carer chronologically :
- Firstly, derain’s early works, marked by his roots in a realistic, libertarian style with cruel, acerbic drawing, are presented as a foil to his photographs, which date from his early career to the 1940s.
His entire work as a painter was deeply imbued by his liking for photographic compositions, no matter how radical, and a certain realism.
- his landscapes of Chatou, dating from 1903 to 1904, with their lively colours and innovative compositions, show a simultaneous adherence to and emancipation from the Impressionist model.
- His pictorial experiments during the summer of 1905 in Collioure, alongside Henri Matisse, were his baptism by fire in Fauvism.
- His Arcadian, decorative vein, typified in the large piece La Danse (an exceptional loan) and its various versions in watercolour, were a response to Paul Gauguin’s Tahitian works and the contemporary paintings of Matisse.
- The vibrant, synthetic landscapes painted at L’Estaque in 1906 and the flamboyant London series (1906 - 1907) represent the peak of his achievements in colour.
- The maori and African objets d’art of the British Museum, which Derain discovered in London in 1906, and the pantheon he built up through his visits to the Louvre, the Musée du Trocadéro and the National Gallery all nourished the neo-archaism of his sculptures and woodcuts.
- A period influenced by Cézanne, which started in 1907, led Derain towards a formal and geometric synthesis with a series of large compositions of female bathers (also exceptional loans).
- He then began to develop a personal form of Cubism through his compartmentalised landscapes of Cassis, Martigues and Carrières-sur-Seine with their saturated colours, painted between 1907 and 1909.
These were followed by those of Cagnes and Cadaquès, characterised by a crystalline, geometric volumetry.
- Without ever abandoning realism, Derain began to accentuate the stylisation of his drawing in 1912
and 1913, producing numerous archaistic portraits, manifesto self-portraits in painter’s clothing, sophisticated, symbolic still lifes and stylised views of windows harking back to Paolo Uccello.
This strange, singular «byzantine» period appealed to numerous artists and poets, including
the young André Breton.
- The exhibition ends with evidence of the resurgence or survival of the pre-war spirit – an epic vein and a poetic archaism inspired by Guillaume Apollinaire – through one of his very late works :
the large allegorical panel completed in 1944, La Chasse (The Hunt), also called L’Âge d’or
(The Golden Age) (1938 - 1944).
the photographs he took and his atypical artistic references, including Epinal’s engravings,
the Maori objects he copied at the British Museum in 1906, and the African sculptures in his collection.
The exhibition presents around seventy paintings, a large number of works on paper (watercolours, drawings, sketchbooks and engravings), sculptures and some fifty photographs, as well as Maori
and African sculptures and ceramics.
The circuit follows his carer chronologically :
- Firstly, derain’s early works, marked by his roots in a realistic, libertarian style with cruel, acerbic drawing, are presented as a foil to his photographs, which date from his early career to the 1940s.
His entire work as a painter was deeply imbued by his liking for photographic compositions, no matter how radical, and a certain realism.
- his landscapes of Chatou, dating from 1903 to 1904, with their lively colours and innovative compositions, show a simultaneous adherence to and emancipation from the Impressionist model.
- His pictorial experiments during the summer of 1905 in Collioure, alongside Henri Matisse, were his baptism by fire in Fauvism.
- His Arcadian, decorative vein, typified in the large piece La Danse (an exceptional loan) and its various versions in watercolour, were a response to Paul Gauguin’s Tahitian works and the contemporary paintings of Matisse.
- The vibrant, synthetic landscapes painted at L’Estaque in 1906 and the flamboyant London series (1906 - 1907) represent the peak of his achievements in colour.
- The maori and African objets d’art of the British Museum, which Derain discovered in London in 1906, and the pantheon he built up through his visits to the Louvre, the Musée du Trocadéro and the National Gallery all nourished the neo-archaism of his sculptures and woodcuts.
- A period influenced by Cézanne, which started in 1907, led Derain towards a formal and geometric synthesis with a series of large compositions of female bathers (also exceptional loans).
- He then began to develop a personal form of Cubism through his compartmentalised landscapes of Cassis, Martigues and Carrières-sur-Seine with their saturated colours, painted between 1907 and 1909.
These were followed by those of Cagnes and Cadaquès, characterised by a crystalline, geometric volumetry.
- Without ever abandoning realism, Derain began to accentuate the stylisation of his drawing in 1912
and 1913, producing numerous archaistic portraits, manifesto self-portraits in painter’s clothing, sophisticated, symbolic still lifes and stylised views of windows harking back to Paolo Uccello.
This strange, singular «byzantine» period appealed to numerous artists and poets, including
the young André Breton.
- The exhibition ends with evidence of the resurgence or survival of the pre-war spirit – an epic vein and a poetic archaism inspired by Guillaume Apollinaire – through one of his very late works :
the large allegorical panel completed in 1944, La Chasse (The Hunt), also called L’Âge d’or
(The Golden Age) (1938 - 1944).
5
André derain was a complex personality, who very early on evinced a certain doubt towards
the modern approach while contributing actively to the explorations of the first avant-gardes
of the 20th century. gertrude Stein said of him, somewhat perfidiously, « derain is an inventor,
a discoverer ; one of those ever-curious spirits who never put their own inventions to good use (...)he is an artistic adventurer, the Christopher Columbus of modern art – but it is others who profit from the new continents. » (Citations from Jean Leymarie’s « André derain ou le retour à l’ontologie », Paris, Skira, 1949)
The project is supported by the artist’s heirs and the Comité Derain, and is accompanied by a major catalogue with articles by specialists on Derain and historical avant-gardes, taking a new approach
to his work. To go with the event, Hazan and the Editions du Centre Pompidou have also published
his war-time correspondence with his wife Alice Derain, edited by Javotte Taillade, the painter’s great-niece.
the modern approach while contributing actively to the explorations of the first avant-gardes
of the 20th century. gertrude Stein said of him, somewhat perfidiously, « derain is an inventor,
a discoverer ; one of those ever-curious spirits who never put their own inventions to good use (...)he is an artistic adventurer, the Christopher Columbus of modern art – but it is others who profit from the new continents. » (Citations from Jean Leymarie’s « André derain ou le retour à l’ontologie », Paris, Skira, 1949)
The project is supported by the artist’s heirs and the Comité Derain, and is accompanied by a major catalogue with articles by specialists on Derain and historical avant-gardes, taking a new approach
to his work. To go with the event, Hazan and the Editions du Centre Pompidou have also published
his war-time correspondence with his wife Alice Derain, edited by Javotte Taillade, the painter’s great-niece.
Chronology
Extracted from the album of the exhibition.
1900. Derain (1880-1954) meets Maurice de Vlaminck, who, like himself, lives in Chatou.
The two friends rent a studio in the former Levanneur restaurant adjoining the Maison Fournaise, frequented by Impressionist painters.
Derain takes classes at the Académie Camillo in Paris, where he meets Henri Matisse.
1901. Derain copies the Portement de croix (Copie d’après Biagio d’Antonio) [Christ Bearing the Cross (Copy after Biagio d’Antonio)] at the Louvre, then attributed to Ghirlandaio, using pure colours.
He visits the Van Gogh exhibition with Vlaminck at the Galerie Bernheim-Jeune.
1901-1904. Military service in Commercy : Derain is bored there, but produces illustrations
for novels written by Vlaminck (D’un lit dans l’autre [From One Bed to the Other], 1902 ; Tout pour ça [All For That], 1903). He paints Le Bal à Suresnes [At the Suresnes Ball] (1903) inspired by his life as an army conscript.
In late 1904, back in Chatou, he meets Apollinaire.
1905. Derain exhibits at the Salon des indépendants. Thanks to Matisse, Vollard becomes his dealer.
In July, he joins Matisse in Collioure where he discovers a new conception of light. He exhibits his painted canvases over the summer with Matisse at the Salon d’automne in Room VII, the “cage aux fauves” [“cage of wild beasts”, the Fauvists’ room].
1906. Derain creates ceramics with André Metthey and experiments with printmaking and sculpture. Visits to London, where he discovers the British Museum and produces a series of views for Vollard. He spends the summer in L’Estaque, near Marseille in the south of France.
1907. The artist meets Daniel-Henry Kahnweiler, who becomes his dealer. He paints in Cassis, where he sees Braque and Othon Friesz. Derain distances himself from Fauvism, becoming more concerned with the architecture of volumes and balanced composition.
He moves to Montmartre and frequents Picasso.
He meets Alice Géry, who becomes his partner.
1908. Derain has a long stay in Martigues, before joining Picasso in La Rue-des-Bois.
He shows his work at the Golden Fleece exhibition in Moscow, the Cercle d’art moderne du Havre, and the Salon des Indépendants in Paris.
1909. He leaves the south and moves to the Somme (Montreuil-sur-Mer, Neuville, Étaples). He produces etchings for Apollinaire’s L’Enchanteur pourrissant [The Putrescent Enchanter] published by Kahnweiler.
1910. He exhibits at the Mánes Union of Fine Arts in Prague. Visit to Cagnes and travels in Spain : with Picasso and Fernande Olivier, Derain visits Figueras and Cadaqués.
In autumn, Alice Géry and Derain move into 13 Rue Bonaparte in Paris.
1911. Discovers Camiers in Pas-de-Calais.
Derain’s painting becomes more archaic, in a similar vein to the simplicity of the Italian primitives.
7
1912. Derain moves to Vers, near Cahors, where he paints around thirty still lifes and landscapes.
He creates prints for Les Œuvres burlesques et mystiques de Frère Matorel, mort au couvent [The Burlesque and Mystical Works of Brother Matorel] by Max Jacob, published by Kahnweiler.
1913. Derain distances himself from Parisian milieues. He mainly exhibits abroad (Valet de carreau in Moscow, Armory Show in New York) and moves to Martigues and Sausset-les-Pins.
1914. Picasso, Braque and Derain are together in Montfavet near Avignon when war is declared. Derain is mobilised : he is posted in Lisieux.
1915. Derain paints Paul Poiret’s portrait, who was also billeted to Lisieux.
In September, he leaves for the front with the 2nd heavy artillery regiment and participates
in the second Battle of Champagne.
In Paris, several of his works are featured in the collective exhibition held at the gallery-boutique of Germaine Bongard, Poiret’s sister.
1916. Derain fights in Douaumont.
At Apollinaire’s initiative, his first solo exhibition is held from 15 to 21 October at the Galerie Paul Guillaume, Avenue de Villiers, in Paris.
Exhibition of French modern art in Oslo organised by the dealer Walther Halvorsen, a former student
of the Académie Matisse.
1917. Derain participates in the fighting at the Chemin des Dames.
The Modern Gallery in New York, managed on behalf of Paul Guillaume by Marius de Zayas,
a former associate of the Soirées de Paris, Apollinaire’s magazine, organised a solo exhibition for Derain, from 3 to 24 November.
André Breton writes a poem, “André Derain”, which he reads at the first poetry reading and musical session at the new Paul Guillaume gallery, on 108 Rue du Faubourg-Saint-Honoré.
1918. Walther Halvorsen supports Derain financially, paying him a monthly allowance as an advance on future paintings.
Death of Apollinaire on 9 November.
1919. Derain continues to be mobilised by the Allied occupation of the Rhineland. He is relieved
of his obligations on 10 March and returns to Paris.
He designs sets and costumes for L’Annonce faite à Marie [The Announcement Made to Mary] (1918-1919) by Paul Claudel, for Arsène Durec’s troupe on tour in the Scandinavian countries.
In May, he leaves for London to create the sets for the ballet La Boutique fantasque [The Magic Toyshop] (choreography by Léonide Massine, music by Gioacchino Rossini) for Les Ballets Russes.
He publishes prints in Mont de piété [Mount of Piety] by André Breton and Ballade du pauvre macchabée mal enterré [Ballad of the Poor Badly Buried Stiff] by René Dalize, who was killed at the front.
1920. Derain revives his ties with Kahnweiler and creates a number of prints for poetry books
(La Cassette de plomb [The Lead Casket] by Georges Gabory, 60 woodcuts for Calumet [Peace Pipe], by André Salmon).
Derain dies on 8 September 1954.
He creates prints for Les Œuvres burlesques et mystiques de Frère Matorel, mort au couvent [The Burlesque and Mystical Works of Brother Matorel] by Max Jacob, published by Kahnweiler.
1913. Derain distances himself from Parisian milieues. He mainly exhibits abroad (Valet de carreau in Moscow, Armory Show in New York) and moves to Martigues and Sausset-les-Pins.
1914. Picasso, Braque and Derain are together in Montfavet near Avignon when war is declared. Derain is mobilised : he is posted in Lisieux.
1915. Derain paints Paul Poiret’s portrait, who was also billeted to Lisieux.
In September, he leaves for the front with the 2nd heavy artillery regiment and participates
in the second Battle of Champagne.
In Paris, several of his works are featured in the collective exhibition held at the gallery-boutique of Germaine Bongard, Poiret’s sister.
1916. Derain fights in Douaumont.
At Apollinaire’s initiative, his first solo exhibition is held from 15 to 21 October at the Galerie Paul Guillaume, Avenue de Villiers, in Paris.
Exhibition of French modern art in Oslo organised by the dealer Walther Halvorsen, a former student
of the Académie Matisse.
1917. Derain participates in the fighting at the Chemin des Dames.
The Modern Gallery in New York, managed on behalf of Paul Guillaume by Marius de Zayas,
a former associate of the Soirées de Paris, Apollinaire’s magazine, organised a solo exhibition for Derain, from 3 to 24 November.
André Breton writes a poem, “André Derain”, which he reads at the first poetry reading and musical session at the new Paul Guillaume gallery, on 108 Rue du Faubourg-Saint-Honoré.
1918. Walther Halvorsen supports Derain financially, paying him a monthly allowance as an advance on future paintings.
Death of Apollinaire on 9 November.
1919. Derain continues to be mobilised by the Allied occupation of the Rhineland. He is relieved
of his obligations on 10 March and returns to Paris.
He designs sets and costumes for L’Annonce faite à Marie [The Announcement Made to Mary] (1918-1919) by Paul Claudel, for Arsène Durec’s troupe on tour in the Scandinavian countries.
In May, he leaves for London to create the sets for the ballet La Boutique fantasque [The Magic Toyshop] (choreography by Léonide Massine, music by Gioacchino Rossini) for Les Ballets Russes.
He publishes prints in Mont de piété [Mount of Piety] by André Breton and Ballade du pauvre macchabée mal enterré [Ballad of the Poor Badly Buried Stiff] by René Dalize, who was killed at the front.
1920. Derain revives his ties with Kahnweiler and creates a number of prints for poetry books
(La Cassette de plomb [The Lead Casket] by Georges Gabory, 60 woodcuts for Calumet [Peace Pipe], by André Salmon).
Derain dies on 8 September 1954.
1. PEiNTURES
L’Enterrement, vers 1899
Huile sur toile, 47,2 x 37 cm
The Collection of the Pierre and Tana Matisse Foundation, New York
Le Bal à Suresnes, 1903
Huile sur toile, 180 x 145,1 cm
Saint Louis Art Museum, Saint Louis. Museum Purchase, 172:1944
Bords de Seine à Chatou, vers 1904
Huile sur toile, 74 x 123,8 cm
The Museum of Modern Art, New York. The William S. Paley Collection. SPC9.1990
Le Vieil Arbre, vers 1904
Huile sur toile, 41 x 33 cm
Centre Pompidou, Musée national d’art moderne, Paris. Achat en 1951, AM 3077 P
La Seine au Pecq, 1904
Huile sur toile, 85 x 95,5 cm
Centre Pompidou, Musée national d’art moderne, Paris. Don en 1938, AM 3773 P
La Rivière (Après-midi d’été, Bords de Seine à Chatou), hiver 1904-1905
Huile sur carton, 74 x 90 cm
Musée d’art moderne de la Ville de Paris.
Achat en 1937, AMVP739
Le Pecq, hiver 1904-1905
Huile sur toile, 81 x 116 cm
Cincinnati Art Museum, Museum Purchase : Bequest of Mary E. Johnston, by exchange, and The Edwin and Virginia Irwin Memorial
Lucien Gilbert, vers 1905
Huile sur toile, 81,3 x 60,3 cm
The Metropolitan Museum of Art, New York.
Gift of Joyce Blaffer von Bothmer, in memory
of Mr. and Mrs. Robert Lee Blaffer, 1975, 1975.169
Arbre, paysage au bord d’une rivière, 1905
Huile sur toile, 61 x 81 cm
Collection Fondation Merzbacher
Bateaux dans le port de Collioure, 1905
Huile sur toile, 72 x 91 cm
Collection Fondation Merzbacher
Bateaux de pêche, Collioure, 1905
Huile sur toile, 38,2 x 46,3 cm
The Museum of Modern Art, New York. The Philip L. Goodwin Collection. 100.1958
Henri Matisse, 1905
Huile sur toile, 39,4 x 28,9 cm
Tate, Londres, purchased with assistance from the Knapping Fund, the Art Fund
and the Contemporary Art Society and private subscribers, 1954
Le Faubourg de Collioure, 1905
Huile sur toile, 59,5 x 73,2 cm
Centre Pompidou, Musée national d’art moderne, Paris. Achat en 1966, AM 4367 P
Le Phare de Collioure, 1905
Huile sur toile, 32,5 x 40,5 cm
Musée d’art moderne de la Ville de Paris, donation Henry-Thomas en 1984, AMVP2531 Ville de Paris
Le Port de Collioure (Port de Collioure, le cheval blanc), 1905
Huile sur toile, 72 x 91 cm
Musée d’art moderne, Troyes,
collections nationales Pierre et Denise Lévy, MNPL 57
Le Séchage des voiles (Bateaux de pêche), 1905 Huile sur toile, 82 x 101 cm
Musée des beaux-arts Pouchkine, Moscou
Les Montagnes à Collioure, juillet 1905 Huile sur toile, 81,3 x 100,3 cm National Gallery of Art, Washington, John Hay Whitney Collection, 1982.76.4
Les Pêcheurs à Collioure, 1905
Huile sur toile, 46 x 54 cm
Private Collection, on long-term loan to the Courtauld Gallery, London
Portrait d’Henri Matisse, 1905 Huile sur toile, 93 x 52,5 cm Musée Matisse, Nice, 63-4-1
Vue de Collioure (Collioure, le village et la mer), 1905 Huile sur toile, 60,2 x 73,5 cm
Scottish National Gallery of Modern Art, Édimbourg
La Jetée à l’Estaque, vers 1906 Huile sur toile, 33 x 55 cm Collection particulière
Big Ben, 1906
Huile sur toile, 79 x 98 cm
Musée d’art moderne, Troyes,
collections nationales Pierre et Denise Lévy, MNPL 103
La Danse, 1906
Huile sur toile, 185 x 228 cm Collection particulière
L’Estaque, 1906
Huile sur toile, 38 x 55 cm
Musée des beaux-arts, La Chaux-de-Fonds, collection René et Madeleine Junod
Pont sur le Riou (Paysage à l’Estaque), 1906 Huile sur toile, 82,6 x 101,6 cm
The Museum of Modern Art, New York.
The William S. Paley Collection. SPC66.1990
Trois personnages assis dans l’herbe, 1906
Huile sur toile, 38 x 55 cm
Musée d’art moderne de la Ville de Paris. Legs Girardin en 1953, AMVP 471
Effets de soleil sur l’eau, Londres, 1906-1907 Huile sur toile, 80,5 x 100 cm
Musée de l’Annonciade, Saint-Tropez, 1962-1-3
Le Quai Victoria (Pont de Charing Cross,
dit aussi Pont de Westminster), 1906-1907
Huile sur toile, 81 x 100,6 cm
Musée d’Orsay, Paris,
donation Max et Rosy Kaganovitch, 1973, RF 1973 16
Hyde Park, 1906-1907
Huile sur toile, 66 x 99 cm
Musée d’art moderne, Troyes,
collections nationales Pierre et Denise Lévy, MNPL 56
Le Pont de Londres, 1906-1907 Huile sur toile, 63 x 95,5 cm Collection Fondation Merzbacher
Le Pont de Londres, hiver 1906-1907
Huile sur toile, 66 x 99,1 cm
The Museum of Modern Art, New York. Gift of Mr. and Mrs. Charles Zadok, 195.1952
Le Pont de Waterloo (Le Pont sur la Tamise), 1906-1907
Huile sur toile, 80 x 100,4 cm
Musée de l’Annonciade, Saint-Tropez, 1962-1-4
Les Quais de la Tamise, 1906-1907
Huile sur toile, 81 x 100 cm
Centre Pompidou, Musée national d’art moderne, Paris. Don de Mme Marcelle Bourdon en 1990, AM 1990-202
Vue sur la Tamise, Londres, 1906-1907
Huile sur toile, 73,3 x 92,2 cm
National Gallery of Art, Washington,
collection of Mr. and Mrs. Paul Mellon, 1985.64.12
Baigneuses, 1907
Huile sur toile, 132,1 x 195 cm
The Museum of Modern Art, New York. William S. Paley and Abby Aldrich Rockefeller Funds, 683.1980
Musée d’art moderne de la Ville de Paris. Legs Girardin en 1953, AMVP 471
Effets de soleil sur l’eau, Londres, 1906-1907 Huile sur toile, 80,5 x 100 cm
Musée de l’Annonciade, Saint-Tropez, 1962-1-3
Le Quai Victoria (Pont de Charing Cross,
dit aussi Pont de Westminster), 1906-1907
Huile sur toile, 81 x 100,6 cm
Musée d’Orsay, Paris,
donation Max et Rosy Kaganovitch, 1973, RF 1973 16
Hyde Park, 1906-1907
Huile sur toile, 66 x 99 cm
Musée d’art moderne, Troyes,
collections nationales Pierre et Denise Lévy, MNPL 56
Le Pont de Londres, 1906-1907 Huile sur toile, 63 x 95,5 cm Collection Fondation Merzbacher
Le Pont de Londres, hiver 1906-1907
Huile sur toile, 66 x 99,1 cm
The Museum of Modern Art, New York. Gift of Mr. and Mrs. Charles Zadok, 195.1952
Le Pont de Waterloo (Le Pont sur la Tamise), 1906-1907
Huile sur toile, 80 x 100,4 cm
Musée de l’Annonciade, Saint-Tropez, 1962-1-4
Les Quais de la Tamise, 1906-1907
Huile sur toile, 81 x 100 cm
Centre Pompidou, Musée national d’art moderne, Paris. Don de Mme Marcelle Bourdon en 1990, AM 1990-202
Vue sur la Tamise, Londres, 1906-1907
Huile sur toile, 73,3 x 92,2 cm
National Gallery of Art, Washington,
collection of Mr. and Mrs. Paul Mellon, 1985.64.12
Baigneuses, 1907
Huile sur toile, 132,1 x 195 cm
The Museum of Modern Art, New York. William S. Paley and Abby Aldrich Rockefeller Funds, 683.1980
La Route de Cassis (Paysage aux environs de Cassis),
1907
Huile sur toile, 33 x 41 cm
Hermann und Margrit Rupf-Stiftung, Kunstmuseum, Berne, Ge 015
Madame Derain en vert, 1907
Huile sur toile, 73 x 60 cm
The Museum of Modern Art, New York. Given anonymously 1942. 143.1942
Paysage à Cassis, 1907
Huile sur toile, 54 x 65 cm
Musée d’art moderne, Troyes,
collections nationales Pierre et Denise Lévy, MNPL 88
Paysage aux environs de Cassis, 1907 Huile sur toile, 46 x 54,9 cm
The Museum of Modern Art, New York, Mrs. Wendell T. Bush Fund. 278.1949
Pinède, Cassis, 1907
Huile sur toile, 54 x 64 cm
Musée Cantini, Marseille. Achat en 1987, C.87.50
Arbres aux environs de Martigues, vers 1908
Huile sur toile, 35 x 28,5 cm
Statens Museum for Kunst, Copenhague, KMSr15
Baigneuses, vers 1908
Huile sur toile, 38 x 46 cm
Musée d’art moderne de la Ville de Paris, Don Amos 1955, AMVP1863
Baigneuses, 1908
Huile sur carton, 24 x 32,5 cm Musée national Picasso-Paris. Dation en 1979, MP3593
Baigneuses, 1908
Huile sur toile, 180 x 230 cm Galerie nationale, Prague
La Baie de Martigues, 1908
Huile sur panneau, 50 x 61 cm
Collection particulière, États-Unis
Les Coteaux aux environs de Martigues, 1908 Huile sur toile, 46 x 38 cm
Hermann und Margrit Rupf-Stiftung, Kunstmuseum, Berne, Ge 016
Huile sur toile, 33 x 41 cm
Hermann und Margrit Rupf-Stiftung, Kunstmuseum, Berne, Ge 015
Madame Derain en vert, 1907
Huile sur toile, 73 x 60 cm
The Museum of Modern Art, New York. Given anonymously 1942. 143.1942
Paysage à Cassis, 1907
Huile sur toile, 54 x 65 cm
Musée d’art moderne, Troyes,
collections nationales Pierre et Denise Lévy, MNPL 88
Paysage aux environs de Cassis, 1907 Huile sur toile, 46 x 54,9 cm
The Museum of Modern Art, New York, Mrs. Wendell T. Bush Fund. 278.1949
Pinède, Cassis, 1907
Huile sur toile, 54 x 64 cm
Musée Cantini, Marseille. Achat en 1987, C.87.50
Arbres aux environs de Martigues, vers 1908
Huile sur toile, 35 x 28,5 cm
Statens Museum for Kunst, Copenhague, KMSr15
Baigneuses, vers 1908
Huile sur toile, 38 x 46 cm
Musée d’art moderne de la Ville de Paris, Don Amos 1955, AMVP1863
Baigneuses, 1908
Huile sur carton, 24 x 32,5 cm Musée national Picasso-Paris. Dation en 1979, MP3593
Baigneuses, 1908
Huile sur toile, 180 x 230 cm Galerie nationale, Prague
La Baie de Martigues, 1908
Huile sur panneau, 50 x 61 cm
Collection particulière, États-Unis
Les Coteaux aux environs de Martigues, 1908 Huile sur toile, 46 x 38 cm
Hermann und Margrit Rupf-Stiftung, Kunstmuseum, Berne, Ge 016
Paysage aux environs de Martigues, 1908
Huile sur toile, 55 x 46 cm
Musée Ziem, Martigues
Baigneuses, vers 1908-1909
Huile sur toile, 24 x 29 cm Collection particulière, États-Unis
Arbres au bord d’un lac, le parc de Carrières- Saint-Denis (Paysage à Carrières-sur-Seine), 1909 Huile sur toile, 54,1 x 65 cm
The Samuel Courtauld Trust,
The Courtauld Gallery, Londres
Cadaqués, 1910
Huile sur toile, 60 x 73 cm
Galerie nationale, Prague.
Acquired from the collection of Vincenc Kramár
Maisons au bord de l’eau (Montreuil-sur-Mer), 1910 Huile sur toile, 61 x 102,3 cm
Musée de l’Ermitage, Saint-Pétersbourg
Montreuil-sur-Mer, 1910
Huile sur toile, 37,5 x 46 cm
Galerie nationale, Prague.
Acquired from the collection of Vincenc Kramár
Vieille Ville de Cagnes (Les Hauts de Cagnes), 1910 Huile sur toile, 66 x 82 cm
Musée des beaux-arts Pouchkine, Moscou
Vue de Cagnes, 1910
Huile sur toile, 81 x 100 cm Museum Flokwang, Essen
Nature morte au Calvaire, vers 1912 Huile sur toile, 65,3 x 57,3 cm Kunstmuseum Basel, Bâle
Nature morte à la carafe, [1912]
Huile sur toile, 92 x 73 cm
Centre Pompidou, Musée national d’art moderne, Paris. Achat en 1979
Fenêtre à Vers, 1912
Huile sur toile, 130,8 x 89,5 cm
The Museum of Modern Art, New York.
Abby Aldrich Rockefeller Fund, purchased in memory of Mrs. Cornelius J. Sulivan. 631.1939
Musée Ziem, Martigues
Baigneuses, vers 1908-1909
Huile sur toile, 24 x 29 cm Collection particulière, États-Unis
Arbres au bord d’un lac, le parc de Carrières- Saint-Denis (Paysage à Carrières-sur-Seine), 1909 Huile sur toile, 54,1 x 65 cm
The Samuel Courtauld Trust,
The Courtauld Gallery, Londres
Cadaqués, 1910
Huile sur toile, 60 x 73 cm
Galerie nationale, Prague.
Acquired from the collection of Vincenc Kramár
Maisons au bord de l’eau (Montreuil-sur-Mer), 1910 Huile sur toile, 61 x 102,3 cm
Musée de l’Ermitage, Saint-Pétersbourg
Montreuil-sur-Mer, 1910
Huile sur toile, 37,5 x 46 cm
Galerie nationale, Prague.
Acquired from the collection of Vincenc Kramár
Vieille Ville de Cagnes (Les Hauts de Cagnes), 1910 Huile sur toile, 66 x 82 cm
Musée des beaux-arts Pouchkine, Moscou
Vue de Cagnes, 1910
Huile sur toile, 81 x 100 cm Museum Flokwang, Essen
Nature morte au Calvaire, vers 1912 Huile sur toile, 65,3 x 57,3 cm Kunstmuseum Basel, Bâle
Nature morte à la carafe, [1912]
Huile sur toile, 92 x 73 cm
Centre Pompidou, Musée national d’art moderne, Paris. Achat en 1979
Fenêtre à Vers, 1912
Huile sur toile, 130,8 x 89,5 cm
The Museum of Modern Art, New York.
Abby Aldrich Rockefeller Fund, purchased in memory of Mrs. Cornelius J. Sulivan. 631.1939
15
La Fenêtre, 1912
Estampe, 61,6 x 48,8 cm
Statens Museum for Kunst, Copenhague, KKSgb336
Les Rochers à Vers, 1912
Huile sur toile, 60,5 x 81 cm
Musée de l’Ermitage, Saint-Pétersbourg
Autoportrait à la pipe, [vers 1913-1914] Huile sur toile, 50 x 31,5 cm Collection particulière
La Gibecière, 1913
Huile sur toile, 116 x 81 cm
Musée de l’Orangerie, Paris, RF 1963-38
L’Italienne assise, 1913
Huile sur toile, 79,5 x 65 cm
Statens Museum for Kunst, Copenhague, KMSr19
L’Italienne assise, 1913
Huile sur toile, 92 x 73 cm Collection Fondation Merzbacher
Estampe, 61,6 x 48,8 cm
Statens Museum for Kunst, Copenhague, KKSgb336
Les Rochers à Vers, 1912
Huile sur toile, 60,5 x 81 cm
Musée de l’Ermitage, Saint-Pétersbourg
Autoportrait à la pipe, [vers 1913-1914] Huile sur toile, 50 x 31,5 cm Collection particulière
La Gibecière, 1913
Huile sur toile, 116 x 81 cm
Musée de l’Orangerie, Paris, RF 1963-38
L’Italienne assise, 1913
Huile sur toile, 79,5 x 65 cm
Statens Museum for Kunst, Copenhague, KMSr19
L’Italienne assise, 1913
Huile sur toile, 92 x 73 cm Collection Fondation Merzbacher
Deux Baigneuses dans un paysage, 1918
Huile sur toile, 35 x 22,5 cm
Hermann und Margrit Rupf-Stiftung, Kunstmuseum, Berne, Ge 021
La Chasse [L’Âge d’or (Paradis terrestre)], 1938-1944 Huile sur papier marouflé sur toile, 274 x 479 cm Centre Pompidou, Musée national d’art moderne, Paris, en dépôt au Musée de l’Orangerie, Paris. Don d’Alice Derain et Aimé Maeght en 1962, AM 4055 P
Hermann und Margrit Rupf-Stiftung, Kunstmuseum, Berne, Ge 021
La Chasse [L’Âge d’or (Paradis terrestre)], 1938-1944 Huile sur papier marouflé sur toile, 274 x 479 cm Centre Pompidou, Musée national d’art moderne, Paris, en dépôt au Musée de l’Orangerie, Paris. Don d’Alice Derain et Aimé Maeght en 1962, AM 4055 P
Nature morte, 1913
Huile sur toile, 46,5 x 55 cm
Statens Museum for Kunst, Copenhague, KMS6987
Portrait de Lucie Kahnweiler, 1913
Huile sur toile, 92 x 73 cm
Centre Pompidou, Musée national d’art moderne, Paris. Donation en 1984, AM 1984-507
Samedi, 1913
Huile sur toile, 181 x 228 cm
Musée des beaux-arts Pouchkine, Moscou
Jeune Fille en noir, 1914
Huile sur toile, 116,5 x 89,3 cm
Musée de l’Ermitage, Saint-Pétersbourg
Les Deux Sœurs, 1914
Huile sur toile, 195,5 x 130,5 cm
Statens Museum for Kunst, Copenhague, KMSr23
Nature morte à la palette, 1914
Huile sur toile, 92 x 73 cm
Statens Museum for Kunst, Copenhague, KMSr22
Portrait de jeune fille, 1914
Huile sur toile, 61 x 50 cm
Musée national Picasso-Paris, donation en 1973, RF1973-68
Huile sur toile, 46,5 x 55 cm
Statens Museum for Kunst, Copenhague, KMS6987
Portrait de Lucie Kahnweiler, 1913
Huile sur toile, 92 x 73 cm
Centre Pompidou, Musée national d’art moderne, Paris. Donation en 1984, AM 1984-507
Samedi, 1913
Huile sur toile, 181 x 228 cm
Musée des beaux-arts Pouchkine, Moscou
Jeune Fille en noir, 1914
Huile sur toile, 116,5 x 89,3 cm
Musée de l’Ermitage, Saint-Pétersbourg
Les Deux Sœurs, 1914
Huile sur toile, 195,5 x 130,5 cm
Statens Museum for Kunst, Copenhague, KMSr23
Nature morte à la palette, 1914
Huile sur toile, 92 x 73 cm
Statens Museum for Kunst, Copenhague, KMSr22
Portrait de jeune fille, 1914
Huile sur toile, 61 x 50 cm
Musée national Picasso-Paris, donation en 1973, RF1973-68
