1905, Andre Derain, Collioure -- Metropolitan Museum of Art (New York) (special exhibition)
From the museum label: This Derain painting shares the same geographic vantage point as Matisse's The Roofs of Collioure (Summer Morning) (see below), and yet the pictures diverge in the treatment of space and color. Derain structures his composition along diagonal axes. He limits his palette to a few colors and concentrates on their interrelationships: orange rooftops set against the deep blue sea; a steeply ascending ocher yellow, moss green hillside in sunlight alongside muted green shadowing, and echoes of these colors in the hills beyond, descending toward the horizon. A touch of white paint interrupts the otherwise homogeneous composition. Derain's painting is hard-won, studied, and generously painted while Matisse was just sketching, trying out new colors in one of many exercises intended to loosen his marks and liberate his palette.
Link to other pictures from the exhibition Vertigo of Color.
1905, Andre Derain, Collioure -- Metropolitan Museum of Art (New York) (special exhibition)
From the museum label: This Derain painting shares the same geographic vantage point as Matisse's The Roofs of Collioure (Summer Morning) (see below), and yet the pictures diverge in the treatment of space and color. Derain structures his composition along diagonal axes. He limits his palette to a few colors and concentrates on their interrelationships: orange rooftops set against the deep blue sea; a steeply ascending ocher yellow, moss green hillside in sunlight alongside muted green shadowing, and echoes of these colors in the hills beyond, descending toward the horizon. A touch of white paint interrupts the otherwise homogeneous composition. Derain's painting is hard-won, studied, and generously painted while Matisse was just sketching, trying out new colors in one of many exercises intended to loosen his marks and liberate his palette.
Link to other pictures from the exhibition Vertigo of Color.