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Vlaminck, la soif de liberté
Marcel le Poney (12/2012)
LIVRE A L’ETAT DE NEUF. EXPEDIE SOUS 3 JOURS OUVRES. NUMERO DE SUIVI COMMUNIQUE AVANT ENVOI, EMBALLAGE RENFORCE. EAN:9782916452098
Vlaminck, la soif de liberté - témoignage.
Marcel le Poney. 2012. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 199 pages - couverture contrepliée - quelques planches de photos en couleurs et en noir et blanc.. . . . Classification Dewey : 927-Artistes, sportifs
Exemplaire n°1573/2470. Classification Dewey : 927-Artistes, sportifs
Wildenstein Daniel. Maithe Valles-Bled; Wildenstein Institute / Godelieve de Vlaminck, Guy Loudmer
Reference : 52123
Maurice De Vlaminck : Catalogue critique des peintures et ceramiques de la periode fauve, edition bilingue francais-anglais
, Wildenstein Institute / Bibliotheque des Arts, 2008 Hardcover with dusjacket / Couverture reliee sous jaquette, 600 pages, illustre, 26,2 x 31,8 cm Texte en Francais et English. Tres belle exemplaire. ISBN 9782908063158.
Catalogue critique des peintures et ceramiques de la periode fauve. Critical Catalogue of Fauve Paintings and Ceramics."La publication de ce premier volume, consacre a la periode fauve, doit permettre de restituer a Vlaminck la part essentielle et determinante qu'il prit dans l'avant garde du debut du XXeme siecle. Il comprend 211 peintures -auxquelles s'ajoute la production de ceramiques realisee en collabration avec le potier d'Asnieres Andre Metthey. // Maurice de Vlaminck (1876-1958) would exploit for a time successfully Post-impressionism but moved than to Fauvism, of which he and his friends Marquet, Matisse, Puy and Manguin were influential pioneers. By the lecture of this book, the reader can discover the earliest paintings of Vlamnick and recognize the ground-breaking role that he played, for he was never a follower and has his own place in the origin of Fauvism. The first set covers the works of Vlaminck's Youth and pre-Fauve years, up till 1904. The second set covers the works painted during most of 1905, which together exhibit an approach that never ceases to be experimental. A third set of pictures is represented by those from the end of 1905 until towards the end of 1906. Finally, a fourth group is represented by the works painted between winter 1906-07 and the end of 1907, in which a progressive distancing from strong colour is noted.
