Maurice de Vlamnick, Paysage a Chatou, 1972, Color Lithograph

Description

Original 'paysage a chatou' color lithograph by maurice de vlamnick. Lithograph printed from an original painting made by the author … more Original 'paysage a chatou' color lithograph by maurice de vlamnick. Lithograph printed from an original painting made by the author in france, circa 1906. Published by fernand mourlot in paris in les fauves, circa 1972. Framed and signed in the stone. In good original condition, with minor wear consistent with age and use, preserving a beautiful patina. About the artist: maurice de vlaminck (4 april 1876 – 11 october 1958) was a french painter. Along with andré derain and henri matisse he is considered one of the principal figures in the fauve movement, a group of modern artists who from 1904 to 1908 were united in their use of intense colour. Vlaminck was one of the fauves at the controversial salon d'automne exhibition of 1905. Vlaminck's compositions show familiarity with the impressionists, several of whom had painted in the same area in the 1870s and 1880s. After visiting a van gogh exhibit, he declared that he "loved van gogh that day more than my own father". From 1908 his palette grew more monochromatic, and the predominant influence was that of cézanne his later work displayed a dark palette, punctuated by heavy strokes of contrasting white paint. Some of his works are held at the minneapolis institute of art. Fernand mourlot: fernand mourlot was born on 5 april 1895 in paris, france. He was the sixth of nine children of jules mourlot and clemence gadras. In 1911, at the age of 16, he was admitted as a student to the école nationale supérieure des arts décoratifs where he studied drawing. After his studies he joined his father and older brothers in the family business, the "imprimerie j. Mourlot". In 1914, jules mourlot, through the sale of russian bonds, would begin expanding the studios, eventually opening a second location on rue st. Maur and purchasing imprimerie bataille on rue de chabrol. That year, the three eldest mourlot brothers were also drafted into the french army and sent to the front. Paul, the oldest brother, would be killed shortly after the start of the war. Georges and fernand would remain in the army through 1918 and would both participate in many battles including the battle of verdun. While at the front, they would learn in 1917 of the death of their mother clemence. Upon their return, they rejoined their father in the business. Georges, the eldest, would head the operations of the studios, while fernand would concentrate on the artistic side and business development. At the death of their father in 1921, the name of the studios was changed to "mourlot freres" (mourlot brothers), with georges and fernand heading the company, while the other siblings became minority holders in the business. N 1923, mourlot won a contract to produce an original lithographic poster to promote an exhibition of french modern art in copenhagen, denmark. A few years later, through the friendship he had developed with the writer georges duhamel, himself a former veteran of world war i, fernand mourlot met the painter maurice de vlaminck. In 1926 the three men worked closely on the production of what became the first of many illustrated books printed by mourlot studios. 1930 marked the start of another important and long lasting cooperation: the one between mourlot and the director of the french national museums. That year, the studios printed a poster for the hundred year anniversary of romanticism and another poster to promote the retrospective of delacroix's work at the musée du louvre. These were followed in 1932 by a poster for an exhibition of édouard manet's work at the musée de l'orangerie, and in 1934, a poster of honoré daumier's work at the bibliothèque nationale. By 1937, mourlot studios had become the largest printer of artistic posters and was often hired by french and foreign museums, such as the tate gallery, to produce high quality posters for their upcoming exhibitions. That year, two more historically important posters for pierre bonnard and henri matisse would be created for the exhibition of the art independent at the petit palais. They would lead to a crucial meeting between mourlot and matisse and would usher the next chapter in the history of the mourlot studios. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



issues arising from misattribution less