Maison Au Toit Rouge is an excellent example of an important phase of Vlaminck’s oeuvre widely known as his Cezannian period. In 1907 Vlaminck had seen at the Salon d'Automne an exhibition of Cézanne which deeply impressed him. This led to a change in his previously Fauvist painting. Instead of using pure unmixed colors executed with violent sets of short brush strokes, his landscapes now evolved to form a new more expressive style. Rich orchestrations of color variations in the prevailing complementary colors of green and red become dominant. Vlaminck’s concept of “volume modeled by color” became the guiding principle of the paintings he produced between 1908 and 1914.
Born in Paris to a Flemish father and a French mother, Vlaminck grew up in a musical and virtually impoverished household. At the age of sixteen, he left home and moved to Chatou, where he later supported his wife and two children by working as a professional cyclist and an itinerant violinist. During this period he was also actively painting and shared a studio with fellow artist Andre Derain. Vlaminck’s first exhibited works were in a group show at the Berthe Weil gallery, Paris (1904), followed by four canvases at the Salon des Independants and eight
paintings in the seminal Salon d’Automne in 1905. After the Parisian art dealer Ambroise Vollard purchased Vlaminck’s stock of paintings early in 1906 the artist was able to devote himself fully to painting.
Museum collections include:
Metropolitan Museum of Art, New York; Hermitage, St. Petersburg; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Musee d’Orsay, Paris; Musee de Petit Palais, Paris; Musee Nationale d’Art Moderne, Paris; National Gallery, Berlin; National Gallery, Washington, D.C.; Los Angeles County Museum of Art; Art Institute of Chicago; Tate Collection, London