1905, Andre Derain, Sailboats at Collioure -- Metropolitan Museum of Art (New York)
From the museum label: This image is noteworthy for its absence of paint; the white priming ground commands the canvas. Integrating the primer into a painting's palette was a device often used by Derain and Matisse in Collioure. The white ground enabled the illusion of luminosity in ways a colorful palette could not match. Derain has further enhanced the stark white of the primer by adding white paint to the sails. A barely articulated sketch of moored fishing vessels, Sailboats at Collioure is almost entirely constructed of short, divided brush marks. This divisionist technique was developed in France in the late nineteenth century, and endured into the twentieth, even in the work of Derain and Matisse. They grew frustrated with its austerity and saw their experiments in Collioure as a moment to escape the strict rigors of Neo-Impressionist tyranny.
Link to other pictures from the exhibition Vertigo of Color.
1905, Andre Derain, Sailboats at Collioure -- Metropolitan Museum of Art (New York)
From the museum label: This image is noteworthy for its absence of paint; the white priming ground commands the canvas. Integrating the primer into a painting's palette was a device often used by Derain and Matisse in Collioure. The white ground enabled the illusion of luminosity in ways a colorful palette could not match. Derain has further enhanced the stark white of the primer by adding white paint to the sails. A barely articulated sketch of moored fishing vessels, Sailboats at Collioure is almost entirely constructed of short, divided brush marks. This divisionist technique was developed in France in the late nineteenth century, and endured into the twentieth, even in the work of Derain and Matisse. They grew frustrated with its austerity and saw their experiments in Collioure as a moment to escape the strict rigors of Neo-Impressionist tyranny.
Link to other pictures from the exhibition Vertigo of Color.