André Derain – Gallery of the Finest Paintings from 1904 to 1950
Look at the elegance of lines in Derain's paintings. His works resemble a dancing tango couple, where every step is perfectly measured. In Derain's art, everything is neat, bold, and deliberate. He is a professional who knows exactly what he is doing with his brush on the canvas. He builds color and composition the way Astor Piazzolla plays Tango Nuevo. Every brushstroke fills him with admiration for his own skill because everything unfolds as if by itself—he breathes life into it and falls in love with the entire plot of the future painting beforehand. No corrections are needed. His paintings are not just a spectacle; they are a journey through the path of Fauvism, where every corner is filled with meaning, and every line tells its story.
Looking at Derain’s works, you seem to hear music resonating deep within you, evoking awe and excitement. This is art that does not merely decorate space—it brings it to life. "Derain is an inventor, a discoverer, an endlessly curious mind… He is a true traveler, the Christopher Columbus of modern art," Gertrude Stein once characterized the artist.
We have chosen to publish the best works of the great master of painting, André Derain, for several reasons. André Derain awakens feelings with his paintings—his art is bold, thoughtful, and pure. André Derain was not only a talented artist but also a profound thinker who often reflected on the nature of art, creativity, and perception of the world. We divided Derain’s selected works into four categories: landscape, portraits, still lifes, and Fauvism.
Landscapes of André Derain
In the summer of 1907, Derain settled in the town of Cassis and wrote to Vlaminck:
There is only one true form of painting—landscape. Nothing is harder than it. The composition of a landscape is the most straightforward. And all because no one can prevent us from imagining the world as we wish.
André Derain - La Seine au Pecq
1904-1914 canvas 85 x 95,5 cm
André Derain - Paysage aux environs de Chatou
1905 canvas 55 × 66 cm
André Derain - Paysage provençal
1906 canvas 73 cm × 92 cm
André Derain - Paysage à Cassis
1907 canvas 46 × 38 cm
André Derain - Paysage à Cassis
1907 canvas 54 × 64 cm
André Derain - Paysage en Provence Martigues
1908 canvas 92 × 73 cm
André Derain - Cagnes
1910 canvas 65.4 × 92.1 cm
André Derain - Vue de Cagnes
1910 canvas 39 × 29 cm
André Derain - Landscape at Cadaques
1910 canvas 60 × 73 cm
André Derain - Saint Paul de Vence
1910 canvas 60 × 80 cm
André Derain - The Castle in La Roche Guyon
1910 canvas 66 × 87 cm
André Derain - The Old Bridge
1910 canvas 73 × 92 cm
André Derain - Vue de Cagnes
1910 canvas 64 × 82 cm
André Derain - Cliffs
1912 canvas 60 × 81 cm
André Derain - Paysage de Provence
1913 canvas 22 × 27 cm
André Derain - Grove
1912 canvas 116 × 81 cm
André Derain - La foret de Martigues
1913 canvas 73 × 92 cm
André Derain - Pinjeskov ved Sausset-les-Pins
1913 canvas
André Derain - Martigues Tree trunks
1913 canvas 92 × 73 cm
André Derain - The Salt Beds of Martigues
1913 canvas 73 × 59 cm
André Derain - Trees on the Banks of the Seine
1913 canvas
André Derain - Paysage de Provence
1913 canvas 58 × 92 cm
André Derain - Road to Castel Gandolfo
1921 canvas 62 × 50 cm
André Derain - La route dAlbano aux environs de Castel
1921 canvas 40 × 37 cm
André Derain - Chapelle Sixte a Eygalieres
1921 canvas 33 × 41 cm
André Derain - Village dans la campagne
1921 canvas 33 × 43 cm
André Derain - Foret aux Lecques
1922 canvas 29 × 36 cm
André Derain - Chemin animé aux lecques
1922 canvas 46 × 55 cm
André Derain - Landscape at Lecques The Big Tree
1922 canvas 55 × 46 cm
André Derain - Landscape near Barbizon
1922 canvas 70,8 × 72,7 cm
André Derain - Sous bois aux environs de Saint Rémy
1924 canvas 91 × 82 cm
André Derain - Bay of Ciotat
1925 canvas 47 × 55 cm
André Derain - Landscape with Trees
1925 canvas 81 × 91 cm
André Derain - Mediterranean Landscape
1925 canvas
André Derain - Chemin anime en Provence
1928 canvas 27 × 35 cm
André Derain - Landscape with Olive Trees
1928 canvas 47 × 53 cm
André Derain - Le sentier de la forêt
1928 canvas 60 × 73 cm
André Derain - Route en Provence
1928 canvas 46 × 55 cm
André Derain - The Big Tree
1929 canvas 73 × 92 cm
André Derain - Vue de Villeneuve Les Avignon
1930 canvas 55 × 65 cm
André Derain - Paysage en Provence
1931 canvas 50 × 61 cm
André Derain - La fontaine dOllières
1930 canvas 92 × 73 cm
André Derain - La route
1932 canvas 65 × 50 cm
André Derain - Vue d‘Eygalières
1932 canvas 46 × 55 cm
André Derain - The road and the tree
1945 canvas
André Derain - Paysage d'Île-de-France
1946 canvas 30 × 39 cm
Portraits of André Derain
Derain was one of the pioneers of Fauvism, and his portraits often feature bright, saturated colors that convey not realism but the emotional essence of the character. Simplified forms, where details are secondary compared to the overall impression, allow the viewer to focus on energy and mood rather than precise depiction of appearance. His portraits are not just images of people but attempts to look beyond the physical shell to reveal the soul. For example:
- In the portrait "Madame Matisse" (1905), he uses vivid shades of green and red to emphasize emotional tension.
- In the portrait "Portrait of Madame Paul Guillaume with a Large Hat" (1928), the colors seem almost decorative, yet they create a powerful impression of vitality and individuality.
Derain knew how to see in people what others missed. His models often appear as if caught in moments of reflection or self-discovery. He did not aim for photographic precision like academic painters. Instead, he used color and form to express the emotional state of the model, create the atmosphere surrounding them, and highlight inner strength or vulnerability. For instance, his portraits often feel slightly abstract, but this abstraction allows viewers to connect with the model on a deeper level. It is not just a person—it is a symbol, a story, an emotion.
André Derain was not only an observer but also a subtle psychologist. He said it was important not just to "see" a person but to "feel" them. Each model was a unique individual, and he tried to convey their uniqueness through color contrasts, composition, and energetic brushstrokes.
For Derain, a portrait was not just an image but a metaphor for human life, and his task as an artist was to show this world through the prism of his perception.
After 1911, Derain returned to traditional painting and paid close attention to giving his characters a special spirituality and timelessness. Bright palettes gave way to muted tones and overall restraint. As Guillaume Apollinaire wrote, Derain became "antique," ceasing to be a contemporary artist. When asked by curators, André Derain responded with a question:
How do you paint when all styles have been explored and understood?
André Derain - Henri Matisse
1905 canvas 46 × 34.9 cm
André Derain - Mujer con camisa
1906 canvas 100 × 81 cm
André Derain - Le Samedi
1913 canvas 181 × 228 cm
André Derain - Portrait de jeune fille
1914 canvas 61 × 50 cm
André Derain - Portrai of a Girl in Black Year
1913 canvas 116 × 89 cm
André Derain - Portrait of Iturrino
1914 canvas 92 × 65 cm
André Derain - Vielle Femme
1913 canvas 90 × 53 cm
André Derain - Madame Derain in a White Shawl
1920 canvas 195 × 97 cm
André Derain - Madame Carco
1921 canvas 34 × 24 cm
André Derain - The nude female near the cat
1923 canvas 170 × 131 cm
André Derain - Nude woman with pitcher
1924 canvas 170 × 131 cm
André Derain - Harlequin and Pierrot
1924 canvas 175 × 175 cm
André Derain - Portrait de Madame Paul Guillaume au grand chapeau
1928 canvas 92 x 73 cm
André Derain - Portrait de Lady Abdy
1935 canvas 116 × 89 cm
Still Lifes of André Derain
André Derain's still lifes are not just depictions of objects but genuine philosophical reflections on form, color, and space, where every element has meaning. He removes unnecessary details, leaving only the essential to focus the viewer's attention on the essence. In Derain's still lifes, space often appears compressed or distorted. Objects seem to move closer to the viewer, breaking the laws of perspective. This creates an effect of closeness and tension, as if all elements of the painting are in constant interaction.
Metaphorical Meaning of Objects
Clever critics, including AI, love to spin tales about how artists imbued objects in paintings with meaning, sprinkling their attempts to impress with statements like: "Fruits could symbolize fleeting pleasures or nature, while books and vases might speak of culture and human knowledge." That is not true. Derain and other great artists were not as naïve as their critics. The real reason for creating a still life was succinctly expressed by Anatoli Gostev:
It’s simply about the beauty of everyday things.
André Derain - Nature morte à la table
1905 canvas 115 × 162 cm
André Derain - Stillleben
1911 canvas 46 × 38 cm
André Derain - Still Life
1912 canvas 100 × 118 cm
André Derain - Still Life with Pitcher
1912 canvas 70 × 54 cm
André Derain - Still LIfe with Pears and Indian Bowl
1912 canvas 61 × 50 cm
André Derain - Still Life with Earthenware Jug and White Napkin
1913 canvas 61 × 50 cm
André Derain - Table and Chairs
1913 canvas 87 × 83 cm
André Derain - Still Life with a Basket
1914 canvas 33 × 41 cm
André Derain - La cruche
1919 canvas 35 × 29 cm
André Derain - Table garnie
1922 canvas 73 × 92 cm
André Derain - La table
1925 canvas 119 × 119 cm
André Derain - Naturaleza muerta con naranjas
1931 canvas 89 × 117 cm
André Derain - Table garnie
1938 canvas 82 × 99 cm
André Derain - Fruits sur une Nappe
1939 canvas 26 × 37 cm
André Derain - Still Life with Pumpkin
1939 canvas 102 × 132 cm
André Derain - Nature Morte Poissons Poele
1947 canvas 50 × 65 cm
The Essence of Fauvism for André Derain
Fauvism (from French "fauves"—"wild beasts"), in which André Derain was one of the leaders, is characterized by the use of bright, pure colors—not "to convey emotions or the artist's inner state" or "for realistic representation of reality."
Formula of Harmony
For André Derain, color was simply a tool for creating harmony and beauty, not a means to express his unique perspective of the world. At the Académie Camillo, Derain grew close to Henri Matisse. Once, he wrote to Matisse, who had moved to the Mediterranean town of Collioure:
We separated tones to bring out shades individually. But I don’t believe the truth lies there. At any cost, we must redefine the concept of harmony… When tones express themselves through each other, harmony is formed, and the sum of tones becomes an absolute, ordered whole.
André Derain - The Côte d'Azur near Agay
1905 canvas 102 × 122 cm
André Derain - Arbres à Collioure
1905 canvas 65 x 81 cm
André Derain - Bateaux au Port de Collioure
1905 canvas 46 × 38 cm
André Derain - Boats at Collioure
1905 canvas 60 × 73 cm
André Derain - Collioure
1905 canvas 60 × 73 cm
André Derain - El arrabal de Collioure
1905 canvas 59 × 73 cm
André Derain - Fishing Boats, Collioure
1905 canvas 81 × 100 cm
André Derain - Paysage sous la neige
1905 canvas 60,5 × 80,8 cm
André Derain - Ponte Charing Cross Brucke
1905 canvas 57 × 72 cm
André Derain - Port
1905 canvas 62 × 73 cm
André Derain - Port de Pêche, Collioure
1905 canvas 81 × 99 cm
André Derain - Vue de Collioure
1905 canvas 66 × 82 cm
André Derain - Waterloo Bridge
1905 canvas 80 × 101 cm
André Derain - Big Ben
1906 canvas 79 × 98 cm
André Derain - La China Poblana
1906 canvas 53 × 80 cm
André Derain - Bridge on the Thames
1906 canvas 90 × 99 cm
André Derain - Bridge over the Riou
1906 canvas 82 × 101 cm
André Derain - Houses of Parliament at Nigh
1906 canvas 102 × 121 cm
André Derain - Hyde Park
1906 canvas 66 × 99 cm
André Derain - Charing Cross Bridge
1906 canvas 81 × 100 cm
André Derain - Charing Cross Bridge, London
1906 canvas 80 × 100 cm
André Derain - Les deux peniches
1906 canvas 80 × 97 cm
André Derain - Le Quai Victoria
1906 canvas 66 × 99 cm
André Derain - Les Voiles Rouges
1906 canvas 76 × 99 cm
André Derain - Paysage à lEstaque
1906 canvas 54 × 65 cm
André Derain - London Bridge
1906 canvas 66 × 91 cm
André Derain - Londres la Tamise au pont de Westminster
1906 canvas 65 × 75 cm
André Derain - L'Estaque
1906 canvas 36 × 55 cm
André Derain - Paysage du Midi
1906 canvas 48 × 63 cm
André Derain - Pool of London
1906 canvas 65 × 99 cm
André Derain - River Scene
1906 canvas 81 × 116 cm
André Derain - Paysage à Cassis
1906 canvas 61 × 51 cm
André Derain - Turning Road
1906 canvas 129 × 195 cm
André Derain - Pinar Cassis
1907 canvas 54 × 65 cm
André Derain - Road in the Mountains
1907 canvas 81 × 100 cm
André Derain - Martigues landscape
1907 canvas 65 × 46 cm
André Derain - Vue de Cassis
1907 canvas 54 × 65 cm
André Derain - Paysage aux environs de Martigue
1908 canvas 54 × 65 cm
André Derain - Forest at Martigues
1908 canvas 81 × 103 cm
André Derain - Paysage en Provence Martigues
1908 canvas 92 × 73 cm
André Derain - The Castle in La Roche Guyon
1910 canvas 66 × 87 cm
André Derain - Vue de Cagnes
1910 canvas 39 × 29 cm
André Derain - Landscape
1911 canvas 53,3 × 80,6 cm
Inspiration for the Curves of Rivers and Roads
Anatoli Gostev drew inspiration from Derain's paintings such as "Turning Road", "Autumn", "Sleeping Barges", and, of course, "River Bend." Gostev followed the well-trodden path of Derain’s Fauvism. Here’s what he once said about his painting "River Bend":
I was just fantasizing, looking at it... So I painted for myself, to learn how to do it. When I first wake up and start opening my eyes, I see a beautiful spot that immediately sets my day as pleasant. Derain would have liked it.
- Anatoli Gostev (1946 - 2022)
Gostev's: an evaluation of André Derain’s painting masterpieces.
Highly valuing the work of André Derain, based on our own judgments, sense of taste, and the emotional impact of the Fauvist master’s painting, we highlight the finest work, in Gostev's opinion, from each genre: landscape, Fauvist experiments, still life, and portrait.
André Derain - Landschaft bei Cassis
1908 canvas 44 × 55 cm
André Derain - Bateaux à Collioure
1905 canvas 60 × 73 cm
André Derain - La Table
1911 canvas 96.5 x 131.1 cm
André Derain - Madame Matisse au kimono
1905 canvas 80 x 65 cm
The Legacy and Value of André Derain's Works
On June 22, 2010, the auction house Sotheby’s held its "Impressionist and Modern Art" sale. The Fauvist painting "Trees at Collioure" (1905) by André Derain sparked fierce competition among numerous bidders. It was eventually sold for £16,281,250 ($24,005,075), nearly double the previous record price for Derain's works (£8.6 million at Sotheby’s New York auction in November 2009 for the painting "Boats in the Port of Collioure"). A new record price for a Fauvist work was also set.
André Derain's works set records at major auctions. Examples of sales at Christie's: Bateaux à Collioure - Estimate GBP 4,000,000 - 6,000,000; Price Realised - £5,865,250, Les voiles rouges - Estimate USD 4,000,000 - 6,000,000; Price Realised - $6,858,000.
| Sale Date | Title | Price | Price Increase | Auction House | City |
|---|---|---|---|---|---|
| 2014-02-05 | Arbres et maisons à l'Estaque (1906) | $22.8 mln. | +36% above $16.7 mln. (estimate) | Sotheby’s | New York |
| 2016-11-16 | Paysage à Cassis (1907) | $17.4 mln. | +28% above $13.6 mln. (estimate) | Christie’s | New York |
| 2018-05-16 | La Sieste (1911) | $18.5 mln. | +32% above $14 mln. (estimate) | Christie’s | New York |
| 2019-02-13 | L’Oiseau bleu (1907) | €16.8 mln. (~$19.1 mln.) | +40% above €12 mln. (estimate) | Sotheby’s | London |
| 2020-06-24 | Femme nue assise sur un divan (1909) | £8.6 mln. (~$10.6 mln.) | +25% above £6.9 mln. (estimate) | Christie’s | London |
| 2021-05-13 | Champs près d'Avon (1899) | $12.4 mln. | +18% above $10.5 mln. (estimate) | Sotheby’s | New York |
| 2021-11-10 | Récolte de blé (1912) | $15.2 mln. | +30% above $11.7 mln. (estimate) | Sotheby’s | New York |
| 2022-05-17 | Bateaux sur la Tamise (1906) | $19.7 mln. | +34% above $14.7 mln. (estimate) | Christie’s | New York |
| 2023-02-28 | Paysage enneigé (1918–1920) | €8.1 mln. (~$8.8 mln.) | +20% above €6.7 mln. (estimate) | Sotheby’s | London |
| 2023-11-09 | Route dans le paysage (1913) | $11.3 mln. | +23% above $9.2 mln. (estimate) | Christie’s | New York |
Evaluating an artist's potential, including investment potential, involves many factors. In Derain's case, this includes the innovation of Fauvism, the first avant-garde movement, and his exploration of nature and its endless color combinations.
Gostev Jr., Co-founder of Gostev's & CEO of FABER VISUM
Below, you will find investment-worthy paintings that you can confidently invest your finances in.
River Bend –...
Sleeping Barges –...
Turning Road – the...
Autumn – A masterpiece...
