1905年安德烈Derain,Le sechage des船帆(干燥帆),油画,82×101厘米,普希金博物馆,莫斯科。展出的1905沙龙d 'Automne
Derain和马蒂斯一起工作在1905年的夏天地中海村Collioure当年晚些时候,显示他们的高度创新的画作沙龙d 'Automne。生动的,不自然的颜色的评论家路易Vauxcelles嘲弄地给他们的作品les Fauves或“野兽”,标志着开始的野兽派的运动。1906年3月,艺术品经销商Ambroise VollardDerain送到伦敦生产的一系列绘画与城市的主题。在30绘画(29仍现存),Derain提出了一个截然不同于伦敦的画像由以前的画家等城市惠斯勒或莫奈。大胆的颜色和构图,Derain画多的照片泰晤士河和塔桥。这些伦敦绘画仍是他最受欢迎的作品。艺术评论家T。G罗森塔尔:“自从莫奈有人把伦敦显得那么新鲜,但仍然是典型的英语。他的一些观点的泰晤士河点彩派画家技术的多个点,虽然这一次,因为点已经变得更大,而是更简单的分离的颜色点彩派这是特别有的传达颜色的碎片在阳光流水。”
安德烈Derain 1906 La jetee L 'Estaque,油画,38 * 46厘米
Andre Derain c。1908年,Baigneuses(Esquisse),油画,38 * 46厘米,巴黎博物馆艺术品现代de la城镇
在蒙马特,Derain开始从辉煌的野兽派的调色板转向更柔和的色调,显示的影响立体主义和保罗塞尚.(根据格特鲁德·斯泰因Derain发现,有一个传统,受到非洲雕塑前立体派艺术家。)提供Derain木刻版画primitivist风格的版纪尧姆·阿波利奈尔的第一本散文,L 'enchanteur pourrissant(1909)。他工作在显示莱纳Kunstlervereinigung在慕尼黑在1910年,在1912年分裂Der数并在1913年的军械库艺术博览会在纽约。他还说明了诗的集合马克斯·雅各布在1912年。
Derain was born in 1880 in Chatou, Yvelines, Île-de-France, just outside Paris. In 1895 Derain began to study on his own, contrary to claims that meeting Vlaminck or Matisse began his efforts to paint, and occasionally went to the countryside with an old friend ofCézanne's, Father Jacomin along with his two sons. In 1898, while studying to be an engineer at the Académie Camillo, he attended painting classes under Eugène Carrière, and there met Matisse. In 1900, he met and shared a studio with Maurice de Vlaminck and together they began to paint scenes in the neighbourhood, but this was interrupted by military service at Commercy from September 1901 to 1904. Following his release from service, Matisse persuaded Derain's parents to allow him to abandon his engineering career and devote himself solely to painting; subsequently Derain attended the Académie Julian.
Derain and Matisse worked together through the summer of 1905 in the Mediterranean village ofCollioure and later that year displayed their highly innovative paintings at the Salon d'Automne. The vivid, unnatural colors led the critic Louis Vauxcelles to derisively dub their works as les Fauves, or "the wild beasts", marking the start of the Fauvist movement. In March 1906, the noted art dealer Ambroise Vollard sent Derain to London to produce a series of paintings with the city as subject. In 30 paintings (29 of which are still extant), Derain presented a portrait of London that was radically different from anything done by previous painters of the city such as Whistler or Monet. With bold colors and compositions, Derain painted multiple pictures of theThames and Tower Bridge. These London paintings remain among his most popular work. Art critic T.G Rosenthal: "Not since Monet has anyone made London seem so fresh and yet remain quintessentially English. Some of his views of the Thames use the Pointillist technique of multiple dots, although by this time, because the dots have become much larger, it is rather more simply the separation of colours called Divisionism and it is peculiarly effective in conveying the fragmentation of colour in moving water in sunlight."
In 1907 art dealer Daniel-Henry Kahnweiler purchased Derain's entire studio, granting Derain financial stability. He experimented with stone sculpture and moved to Montmartre to be near his friend Pablo Picasso and other noted artists. Fernande Olivier, Picasso's mistress at the time, described Derain as:
At Montmartre, Derain began to shift from the brilliant Fauvist palette to more muted tones, showing the influence of Cubism and Paul Cézanne. (According to Gertrude Stein, there is a tradition that Derain discovered and was influenced by African sculpture before the Cubists did.) Derain supplied woodcuts in primitivist style for an edition of Guillaume Apollinaire's first book of prose, L'enchanteur pourrissant (1909). He displayed works at the Neue Künstlervereinigung in Munich in 1910, in 1912 at the secessionist Der Blaue Reiter and in 1913 at the seminal Armory Show in New York. He also illustrated a collection of poems by Max Jacob in 1912.
At about this time Derain's work began overtly reflecting his study of the Old Masters. The role of color was reduced and forms became austere; the years 1911–1914 are sometimes referred to as his gothic period. In 1914 he was mobilized for military service in World War Iand until his release in 1919 he would have little time for painting, although in 1916 he provided a set of illustrations for André Breton's first book, Mont de Piete.
After the war, Derain won new acclaim as a leader of the renewed classicism then ascendant. With the wildness of his Fauve years far behind, he was admired as an upholder of tradition. In 1919 he designed the ballet La Boutique fantasque for Diaghilev, leader of theBallets Russes. A major success, it would lead to his creating many ballet designs.
The 1920s marked the height of his success, as he was awarded the Carnegie Prize in 1928 for his "Still-life with Dead Game" and began to exhibit extensively abroad—in London, Berlin, Frankfurt, Düsseldorf, New York City and Cincinnati, Ohio.
During the German occupation of France in World War II, Derain lived primarily in Paris and was much courted by the Germans because he represented the prestige of French culture. Derain accepted an invitation to make an official visit to Germany in 1941, and traveled with other French artists to Berlin to attend a Nazi exhibition of an officially endorsed artist, Arno Breker. Derain's presence in Germany was used effectively by Nazi propaganda, and after the Liberation he was branded a collaborator and ostracized by many former supporters.
A year before his death, he contracted an eye infection from which he never fully recovered. He died in Garches, Hauts-de-Seine, Île-de-France, France in 1954 when he was struck by a moving vehicle.
Derain's London paintings were the subject of a major exhibition at the Courtauld Institute from 27 October 2005 to 22 January 2006.