Village in the Valley

Creation date
oil on canvas
18-1/4 x 21-1/2 in.
Credit line
William Ray Adams Memorial Collection
Accession number
Currently On View In
William L. and Jane H. Fortune Gallery - H200

When Vlaminck painted this landscape in 1913, he had already begun to tame the exuberant palette of his Fauve works in favor of a color scheme based on earth tones.

Here Vlaminck explores issues of composition and pictorial structure, inspired in part by the carefully ordered landscapes of Paul Cézanne. He balanced the trees at left and right and presented the distant village as a network of faceted planes. The unrestrained brushwork sustains the vigorous handling common to Vlaminck's Fauve canvases.

(Galerie Kahnweiler, Paris).{1} (Galerie Flechtheim, Berlin).{2}Hermann C. Goldsmith, Paris;{3}(Lilienfeld Galleries, New York); Henry R. Hope[1905-1989], Bloomington, Indiana; given to John Herron Art Institute, now Indianapolis Museum of Art, by Mr. and Mrs. Hope in 1947 in memory of her father, William Ray Adams (47.57).

{1}A Galerie Kahnweiler label is present on the stretcher with the stock number 1385. According to Malcolm Gee, Dealers, Critics, and Collectors of Modern Painting: Aspects of the Parisian art Market Between 1910 and 1930, Garland, New York and London 1981, appendix p. 18, Vlaminck signed a contract with Kahnweiler in July 1913 giving him the right to sell his entire production for 2 years. It has not yet been determined if this painting was included in the four French government auctions of Daniel-Henry Kahnweiler’s [1884-1979] stock in the years 1921-1923.
{2}According to a letter of 27 March 1947 from Karl Lilienfeld [1885-1966] to IMA. A Lilienfeld gallery label is present on the stretcher.
{3} Ibid. Lilienfeld spells the name “Herrman C. Goldsmith” which is surely inaccurate. It is uncertain whether or not the name has been anglicized. No information about a collector of that name has been located.
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