Editing André Derain (section)

==Life and career==

===Early years===
Derain was born in 1880 in [[Chatou]], [[Yvelines]], [[Île-de-France (region)|Île-de-France]], just outside Paris. In 1895 he 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 of [[Cézanne]]'s, Father Jacomin along with his two sons.<ref>Diehl 1977, p.8</ref> In 1898, while studying to be an engineer at the Académie Camillo,<ref>Cowling and Mundy 1990, p.92</ref> 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.<ref>Diehl 1977 p.14</ref> 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 {{Lang|fr|[[Académie Julian]]|italic=no}}.<ref>{{cite web|url=http://www.nga.gov.au/international/Catalogue/Detail.cfm?ViewID=1&MnuID=2&GalID=4&SubViewID=1&BioArtistIRN=12005&IRN=98696 |title=International Painting and Sculpture - Le Cavalier au cheval blanc |access-date=2007-12-17 |publisher=National Gallery of Australia }}</ref>

===Fauvism===
[[File:André Derain, 1905, Le séchage des voiles (The Drying Sails), oil on canvas, 82 x 101 cm, Pushkin Museum, Moscow. Exhibited at the 1905 Salon d'Automne.jpg|thumb|240px|left|''Le séchage des voiles'' (''The Drying Sails''), 1905, oil on canvas, 82 × 101 cm, [[Pushkin Museum]], Moscow. Exhibited at the 1905 [[Salon d'Automne]]]]
Derain and Matisse worked together through the summer of 1905 in the [[Mediterranean Sea|Mediterranean]] village of [[Collioure]] and Derain completed the ''[[Mountains at Collioure]]'' painting.<ref name="rolfes">{{cite web|url=http://www.rolfes.org/albums/picture.php?/3964/category/85|title=Mountains at Collioure by André Derain at National Gallery of Art|publisher=Rolfes|date=|accessdate=1 July 2012}}</ref> Later that year they 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 [[Fauvism|Fauvist]] movement.<ref>{{Cite web|date=1905-10-17|title=Gil Blas / dir. A. Dumont|url=https://gallica.bnf.fr/ark:/12148/bpt6k7522165g|access-date=2020-06-27|website=Gallica|language=EN}}</ref> 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 [[James Abbott McNeill Whistler|Whistler]] or [[Claude Monet|Monet]]. With bold colors and compositions, Derain painted multiple pictures of the [[Thames]] 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 [[Pointillism|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."<ref>[[Tom Rosenthal (publisher)|Tom Rosenthal]], reviewing Derain's London paintings on show at the Courtauld Gallery, ''The Independent'' 4 December 2005</ref>

[[File:Derain CharingCrossBridge.png|thumb|''Charing Cross Bridge, London'', 1906, [[National Gallery of Art]], [[Washington, D.C.]]]]
[[File:André Derain, 1906, La jetée à L'Estaque, oil on canvas, 38 x 46 cm.jpg|thumb|''La jetée à L'Estaque'', 1906, oil on canvas, 38 × 46 cm]]
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<ref name="Cle396">Clement 1994, p. 396</ref> as:
<blockquote>Slim, elegant, with a lively colour and enamelled black hair. With an English chic, somewhat striking. Fancy waistcoats, ties in crude colours, red and green. Always a pipe in his mouth, phlegmatic, mocking, cold, an arguer.</blockquote>

At Montmartre, Derain began to shift from the brilliant Fauvist palette to more muted tones, showing the influence of [[Cubism]] and [[Paul Cézanne]].<ref name="GH">{{cite web |url=http://www.guggenheimlasvegas.org/past/exhibition_187_work_md_575.html |title=Works on View: André Derain |access-date=2007-12-18 |publisher=Guggenheim Hermitage Museum |archive-url=https://web.archive.org/web/20080125173343/http://www.guggenheimlasvegas.org/past/exhibition_187_work_md_575.html |archive-date=25 January 2008 |url-status=dead }}</ref> (According to [[Gertrude Stein]], Derain may have been influenced by African sculpture before Picasso.)<ref>{{cite book|url=https://books.google.com/books?id=jGnXrfaioxQC&q=Derain+Negro&pg=PT59|title=Stein, ''The Autobiography of Alice B. Toklas''|isbn=9780679641957|last1=Stein|first1=Gertrude|date=November 2000|publisher=Random House Publishing }}</ref> Derain supplied woodcuts in [[Primitivism|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,<ref>Hamilton 1993, p. 207</ref> in 1912 at the secessionist [[Der Blaue Reiter]]<ref>Sotriffer 1972, p. 59</ref> and in 1913 at the seminal [[Armory Show]] in New York. He also illustrated a collection of poems by [[Max Jacob]] in 1912.

===Towards a new classicism===
{{see also|Return to order}}
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 art|gothic]] period. In 1914 he was mobilized for military service in [[World War I]] and 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.<ref>Cowling and Mundy 1990, pp. 92–93</ref> In 1919 he designed the [[ballet]] ''[[La Boutique fantasque]]'' for [[Serge Diaghilev|Diaghilev]], leader of the [[Ballets Russes]].<ref name="australiadancing">{{cite web|url=http://www.australiadancing.org/subjects/4861.html |title=Australia Dancing leaps into Trove |url-status=usurped |archive-url=https://web.archive.org/web/20110808045124/http://www.australiadancing.org/subjects/4861.html |archive-date=2011-08-08 }}</ref> 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]].<ref name="Cle396"/>

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 [[Nazism|Nazi]] exhibition of an [[Art of the Third Reich|officially endorsed artist]], [[Arno Breker]].<ref name="GH"/> Derain's presence in Germany was used effectively by [[Nazi propaganda]], and after the [[End of World War II in Europe|Liberation]] he was branded a [[Collaboration with Nazi Germany and Fascist Italy|collaborator]] and ostracized by many former supporters.<ref name=Dorl2008>{{Cite book|last=Dorléac |first=Laurence Bertrand |title=Art of the Defeat: France 1940-1944 |year=2008 |publisher=Getty Research Institute |location=Los Angeles |isbn=978-0-89236-891-4 |pages=83–87 |url=https://books.google.com/books?id=gTwjzSgTmbYC&pg=PA83 |access-date=14 February 2012 }}</ref>

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 (region)|Île-de-France]], France in 1954 when he was struck by a moving vehicle.<ref>{{cite web|url=http://www.andre-derain.de/e/index.shtml |title=André Derain Biography |access-date=2008-01-03 |work=Namen der Kunst |publisher=Art Directory GmbH }}</ref>

Derain's London paintings were the subject of a major exhibition at the [[Courtauld Institute]] from 27 October 2005 to 22 January 2006.<ref>Brettell, Richard R., Paul Hayes Tucker, and Natalie Henderson Lee (2009). ''The Robert Lehman Collection. III, III''. New York, N.Y.: Metropolitan Museum of Art in association with Princeton University Press. p. 253. {{ISBN|9781588393494}}.</ref>