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©
André Derain, VEGAP, Madrid
André Derain

The Church of Chatou

1909
Oil on panel.
33 x 35 cm
Carmen Thyssen Collection
Inv. no. (
CTB.1998.74
)
Not on display
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop

In the first years of the 20th century, André Derain and his friend Maurice de Vlaminck turned Chatou into the chosen cradle of the fauvist trend. Chatou, Derain's native town, and its surroundings were already one of this artist's predominant subjects in his early works. Even in his paintings from the months between the autumn of 1904 and the spring of 1905-a crucial period in shaping his artistic maturity-the painter takes Chatou and other nearby localities and landscapes as the main subject. However, the motifs that contributed decisively to the full development of Derain's fauvist language were the landscapes from the French Midi. His sojourn in Collioure with Matisse during the summer of 1905 and his later periods spent in L'Estaque, Cassis and other localities of the Provençal coast explicitly link the bright, dazzling and shadowless paintings he produced until 1907 to those southern landscapes. The Church in Chatou from the Carmen Thyssen-Bornemisza Collection, like other paintings of 1909, represents his first return to his native landscape after his long wanderings, particularly in the south, but also in Normandy and London, during which he displayed his ability as a colourist, but also underwent a gradual shift in his fauvist style towards representational formulas more directly inspired on Cézanne, and embodying a new primitivism. The Church in Chatou shows Derain's reencounter with the physiognomy of the place of his first colourist attempts following the radical transformation of his pictorial interests.

The artist's concern with the architectural organisation of masses in the painting, towards the solid and crystalline aspect of the composition and the austerity of the colouring clearly shows in the landscapes painted by Derain in Martigues in 1908. Such a transformation is similar to the one Braque's painting underwent that same year with the landscapes of L'Estaque, and also foreshadows works as important as those executed later by Picasso in Horta de Ebro. Cézanne's influence on Derain increased in 1907, when he admired, for example, the retrospective exhibition dedicated to the painter from Aix in the Salon d'Automne and visited locations that appeared in the works of this artist. This influence was shared, no doubt, by other painters. Kahnweiler, who organised an exhibition of works by Braque, Van Dongen and Derain in his gallery in 1909, affirmed, however, that "above all Derain was the artist who transmitted to the others Cézanne's practical and theoretical lessons". That is the reason why, although the artist from Chatou did not become involved in the development of the Cubist language, he did play a crucial role in its formation, with paintings like the one analysed here.

There are two other paintings of the same subject and from the same period, also entitled The Church in Chatou; the most important one belongs to the E. G. Bührle Foundation in Zurich and the other one to a private collection. There are strong similarities between them from a compositional point of view, as well as with other paintings from the same period, such as Landscape of Carrières-sur-Seine from the Statens Museum for Kunst in Copenhagen. The wood panel from the Carmen Thyssen-Bornemisza Collection, perhaps made as a study for the composition belonging to the E. G. Bührle Foundation, is a very fortunate interpretation of a subject which clearly attracted him greatly. The use of simple geometrical elements, the overall simplification of the volumes, a restrained palette and a compressed composition completely invert the representation of Chatou Derain had made four years previously during his Fauvist period: The Seine in Chatou (Fort Worth, TX, Kimbell Art Museum). In that earlier painting, the church is also present, but it is seen from a hill, with the river in the background, a wide horizon and a bright use of colour. In The Church in Chatou the painter chose a low point of view on the opposite side, framing the buildings severely, with a dark transition towards them, and endowed the powerful relationships between volumes with the full formal potential of the painting.

Javier Arnaldo
 

20th CenturyPaintingOilpanel
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More from the collection

André Derain
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Landscape around Chatou
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  • Private and/or didactic use
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Private and/or didactic use
The Church of Chatou. La iglesia de Chatou, 1909
The Church of Chatou
André Derain

©

André Derain, VEGAP, Madrid

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The Church of Chatou. La iglesia de Chatou, 1909
The Church of Chatou
André Derain

©

André Derain, VEGAP, Madrid

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