Maurice de Vlaminck – Gallery of Masterpieces from 1904 to 1956

The works of the French painter Maurice de Vlaminck (1876–1958) are rightfully considered some of the most striking examples of early 20th-century avant-garde art. As one of the key figures of Fauvism, he introduced viewers to a new perception of colour, form, and light, unafraid to break artistic conventions.

Vlaminck's method in creating artworks was impulsive, almost ecstatic in its approach to palette: he used bright, saturated tones, applied them thickly with bold brushstrokes, often directly from the tube. His paintings challenged traditional notions of perspective and realism, replacing them with emotional intensity and expressive freedom.

We have selected more than 89 of Vlaminck’s paintings for publication for several reasons:
— To demonstrate the full scope of his creative evolution — from the wild colours of Fauvism to a more restrained realism.
— To highlight the artist’s significance in the history of European art.
— To allow viewers to experience the spirit of an era when artists were seeking new paths of self-expression.
Vlaminck’s paintings invite the viewer to contemplate everyday life through the prism of intense emotions, reflecting the artist’s ability to find meaning and poetry in simple forms and landscapes.

Landscape became one of Vlaminck’s favourite subjects throughout his life. Between 1905 and 1956, he repeatedly returned to depicting streets, rivers, villages, and suburbs, inspired by the surroundings of Paris, especially Château-Landon. These works are characterised by rich, sometimes even aggressive colours, yet always filled with inner harmony and rhythm. For Vlaminck, landscape was not merely a background, but a living participant in the scene.

Maurice de Vlaminck - Bougival

1905, 73 × 92 cm

Maurice de Vlaminck - House on the Banks of a River

1909, 46 × 55 cm

Maurice de Vlaminck - La Orilla del Rio

1909, 80 × 100 cm

Maurice de Vlaminck - Paysage

1909, 73 × 60 cm

Maurice de Vlaminck - Town

1909, 73 × 92 cm

Maurice de Vlaminck - La Sortie du Bois

1910, 38 × 46 cm

Maurice de Vlaminck - Paysage prés de Catou

1911, 64 × 80 cm

Maurice de Vlaminck - Bois la Jonch

1912, 81 × 100 cm

Maurice de Vlaminck - Landscape with Red Roofs

1912, 33 × 41 cm

Maurice de Vlaminck - Le Tang

1912, 65 × 81 cm

Maurice de Vlaminck - Le Village

1912, 64 × 80 cm

Maurice de Vlaminck - Village au Bord de la Rivière

1912, 32 × 41 cm

Maurice de Vlaminck - La Maison de l'Étang

1913, 73 × 91 cm

Maurice de Vlaminck - Paysage aux Toits Rouges

1913, 60 × 73 cm

Maurice de Vlaminck - Sentier and Bank of the River

1914, 65 × 80 cm

Maurice de Vlaminck - Village on the River

1915, 55 × 70 cm

Maurice de Vlaminck - The Forest

1918, 60 × 73 cm

Maurice de Vlaminck - Maison dans un Paysage

1922, 65 × 81 cm

Maurice de Vlaminck - Eglise Sous la Neige

1925, 81 × 100 cm

Maurice de Vlaminck - La Barque de Peche

1925, 65 × 92 cm

Maurice de Vlaminck - Les Toits Rouges

1925, 46 × 55 cm

Maurice de Vlaminck - Maisons Sous la Neige

1927, 54 × 65 cm

Maurice de Vlaminck - Paysage avec un Personnage

1927, 73 × 92 cm

Maurice de Vlaminck - Village Sous la Neige

1927, 73 × 92 cm

Maurice de Vlaminck - Village Sous la Neige

1928, 60 × 73 cm

Maurice de Vlaminck - Eglise Sous la Neige

1929, 46 × 55 cm

Maurice de Vlaminck - Champ de Bles

1929, 60 × 73 cm

Maurice de Vlaminck - La Route

1929, 38 × 46 cm

Maurice de Vlaminck - Maisons Sous la Neige

1929, 109 × 125 cm

Maurice de Vlaminck - Scène de Neige

1929, 54 × 65 cm

Maurice de Vlaminck - Paysage de Neige

1930, 53 × 62 cm

Maurice de Vlaminck - Paysage - La Maison dans les Bois

1930, 65 × 81 cm

Maurice de Vlaminck - Rue de Village Sous la Neige

1930, 73 × 92 cm

Maurice de Vlaminck - After the Storm

1938, 53 × 72 cm

Maurice de Vlaminck - Autumn Landscape

1939, 54 × 65 cm

Maurice de Vlaminck - Landscape

1939, 50 × 60 cm

Maurice de Vlaminck - Paysage de Neige

1940, 50 × 61 cm

Maurice de Vlaminck - Paysage de Neige

1941, 60 × 73 cm

Maurice de Vlaminck - Village Sous la Neige

1941, 47 × 55 cm

Maurice de Vlaminck - Landscape

1942, 52 × 64 cm

Maurice de Vlaminck - Paysage de Neige

1942, 54 × 65 cm

Maurice de Vlaminck - Route Sous la Neige

1942, 56 × 70 cm

Maurice de Vlaminck - Village Sous la Neige

1942, 55 × 67 cm

Maurice de Vlaminck - Ferme

1943, 28 × 34 cm

Maurice de Vlaminck - Route Sous la Neige

1943, 46 × 55 cm

Maurice de Vlaminck - Village Enneigé

1944, 81 × 99 cm

Maurice de Vlaminck - Les Blés

1946, 60 × 73 cm

Maurice de Vlaminck - Paysage de Neige

1947, 50 × 61 cm

Maurice de Vlaminck - Environs de Bourth

1951, 60 × 73 cm

Maurice de Vlaminck - Valmondois

1951, 60 × 73 cm

Maurice de Vlaminck - Le Village en Hiver

1956, 49 × 65 cm

This was the most famous period of Vlaminck’s career — the Fauvist era. It was during these years that he, together with André Derain and Henri Matisse, set the tone for a new direction in art. The paintings of this period are marked by daring colour combinations, absence of shadow, and deep emotional expression. Among the most significant works are “Self-Portrait”, “River at Château-Landon”, and “The Red House”. These became symbols of the emotional breakthrough at the turn of the century.

Maurice de Vlaminck - The Gardener

1904, 69 × 96 cm

Maurice de Vlaminck - Autumin Landskape

1905, 46 × 55 cm

Maurice de Vlaminck - Houses at Chatou with Red Trees

1905, 54 × 65 cm

Maurice de Vlaminck - Chaville el Estanque de Lursine

1905, 54 × 65 cm

Maurice de Vlaminck - Les Regates a Bougival

1905, 60 × 73 cm

Maurice de Vlaminck - Restaurant de la Machine at Bougival

1905, 60 × 82 cm

Maurice de Vlaminck - Spring Landskape

1905, 65 × 81 cm

Maurice de Vlaminck - Portrait of a Woman

1905, 45 × 37 cm

Maurice de Vlaminck - Therelist Bougival

1905, 82 × 100 cm

Maurice de Vlaminck - Arbres a la Maison Bleue

1906, 54 × 65 cm

Maurice de Vlaminck - Banks of the Seine at Bougival

1906, 54 × 73 cm

Maurice de Vlaminck - Bords de la Seine a Carrieres sur Seine

1906, 54 × 65 cm

Maurice de Vlaminck - Le Verger

1906, 60 × 73 cm

Maurice de Vlaminck - Ribes del Sena a Chatou

1906, 53 × 65 cm

Maurice de Vlaminck - Rueil the Boathouse

1906, 54 × 65 cm

Maurice de Vlaminck - The Blue House

1906, 54 × 64 cm

Maurice de Vlaminck - The Seine at Chatou

1906

Maurice de Vlaminck - The Bridge at Chatou

1907, 52 × 71 cm

Maurice de Vlaminck - The Fishermen

1907, 60 × 73 cm

Still lifes hold a special place in Vlaminck’s oeuvre. He painted them throughout his artistic journey, from the early days of Fauvism to a calmer, almost classical style. His compositions were distinguished by dense textures, bold contrasts, and unexpected solutions in rendering light and volume. These works reveal another side of the master — more meditative, yet no less expressive.

Maurice de Vlaminck - Still Life

1905

Maurice de Vlaminck - Bunch of Flower

1909, 65 × 54 cm

Maurice de Vlaminck - Still Life with Almonds

1907, 54 × 65 cm

Maurice de Vlaminck - Blue Vase with Flowers

1906, 81 × 45 cm

Maurice de Vlaminck - Still Life - Copper Goblets

1909

Maurice de Vlaminck - Nature Morte au Journal et à la Bouteille

1909, 46 × 55 cm

Maurice de Vlaminck - Still Life

1910, 47 × 59 cm

Maurice de Vlaminck - Vase de Fleurs

1914, 65 × 54 cm

Maurice de Vlaminck - Nature Morte

1911, 62 × 75 cm

Maurice de Vlaminck - Vase de Fleurs

1912, 73 × 54 cm

Maurice de Vlaminck - Still Life with Knife

1910, 81 × 100 cm

Maurice de Vlaminck - Coupe de Fruits

1917, 60 × 73 cm

Maurice de Vlaminck - Nature Morte au Panier de Fruits

1920, 60 × 73 cm

Maurice de Vlaminck - Nature Morte

1945, 54 × 65 cm

Maurice de Vlaminck - Vase with Flowers

1946, 46 × 33 cm

Evaluating Vlaminck, relying on our own judgment, sense of taste, and the emotional impact of painting, we select four works in the Fauvist style, as we believe that Maurice de Vlaminck is truly brilliant in this particular phase of his work. One of the dynasty’s statements says:

It does not matter how a painting is made — with strokes, lines, thick daubs, a palette knife, a brush, or even the palm of a hand. What matters is that what the artist created is engaging, that the painting moves you, and that the future owner would want to live with it.

The Fauvism of Maurice de Vlaminck is impulsive and fearless. This is the truth of the energy in his painting. A wildness we have chosen as astonishing:

Maurice de Vlaminck - La Senna a Chatou

1905

Maurice de Vlaminck - Sous Bois

1905, 60 × 72 cm

Maurice de Vlaminck - Ruderboot bei Chatou

1906, 49 × 65 cm

Maurice de Vlaminck - Paysage au Bois Mort

1906, 64 × 80 cm

Maurice de Vlaminck left behind a rich legacy that had a profound impact on the development of modern art. His bold use of colour and rejection of traditional depiction methods inspired generations of artists. He was not only a creator but also a thinker and writer — a man who saw art as a path to truth. Vlaminck took pride in never having crossed the threshold of the Louvre, calling himself a “tender and gently savage barbarian,” and is remembered in art history as “the incendiary” of Expressionism within the Fauvist movement.

Anatoli Gostev was inspired by the Fauvist paintings of Vlaminck, Braque, and above all, Derain. In his work “Turning Road”, Gostev explored the Fauvist aesthetic, drawing inspiration. Here’s what he once said:

The painting “Turning Road” is an attempt to travel the well-worn path of Fauvism — heating the tree trunks glowing red along a winding village road — and to disappear around the bend, in search of new inspiration.

— Anatoli Gostev (1946 – 2022)

YouTube video - Turning Road Art Painting