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| Édouard Vuillard Interior - The Drawing Room 1901 oil on card Kelvingrove Art Gallery and Museum, Glasgow |
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| Édouard Vuillard Interior with a Screen ca. 1909-1910 oil on paper, mounted on panel Courtauld Gallery, London |
"Painted on paper, this work shows the interior of Vuillard's studio in Paris. A model, who has perhaps just finished posing, reaches across a sofa for her clothes. Her body is set off against a screen, painted in bold simple blocks of colour. Sun pours through the large studio window on the right, falling across the model's right arm and left thigh. The abbreviated treatment of the nude undermines the voyeuristic qualities which were traditionally part of such informal studio subject matter."
– curator's notes from the Courtauld Gallery
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| André Derain Collioure 1905 oil on canvas Scottish National Gallery of Modern Art, Edinburgh |
"Collioure is the name of the fishing village in the south of France where Derain spent the summer of 1905 with fellow artist Henri Matisse. He was very much influenced by the strong light in the south, which casts few shadows and eradicates contrasts in tone. He painted in pure bright colours straight from the tube to capture the effects of the sunlight, using broad, confident brushstrokes to create a flat, decorative and expressive pattern."
– curator's notes from the Scottish National Galleries
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| André Derain Still Life with Plums ca. 1923-27 oil on canvas Ashmolean Museum, Oxford |
"From 1913 onwards, Derain painted many still lifes. In this painting from the mid-1920s, space is reduced to a single plane, the liquid paint is fluently applied, the composition is arranged like a frieze and the objects are clearly fixed in space."
– curator's notes from the Ashmolean Museum
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| Henri Rousseau Statue of Diana in the Park ca. 1909 oil on canvas, mounted on panel Scottish National Gallery of Modern Art, Edinburgh |
"This painting shows the Tuileries gardens in Paris. The statue depicts the goddess Diana with a dog at her feet. This is almost certainly the statue by Louis Leveque, which was sculpted in 1866 and installed in the Tuileries in 1872. Following Rousseau's usual practice, it was probably painted after a postcard or photograph rather than from life."
– curator's notes from the Scottish National Galleries
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| Auguste Herbin Arum Lilies ca. 1911 oil on canvas York City Art Gallery |
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| Maurice de Vlaminck Landscape near Martigues 1913 oil on canvas Tate Modern, London |
"Dr. L. Coutencin, the Director of the Museum of Martigues, has identified the view as a scene on the outskirts of Martigues, close to the road which runs from Martigues to Port-de-Bouc. The building is a Capuchin monastery constructed in 1604. The area has now been built over but he remembers it well from the early years of the century. This painting is evidently a quick sketch, made probably on the spot and completed in one sitting. According to Georges Hilaire, Derain spent the summer of 1913 at Martigues, near Marseilles, and Vlaminck and his family joined him there for one week. Vlaminck, who was not a keen traveller, wrote of this in Tournant Dangereux: 'Derain, who was on a trip in the Midi, extolled to me in his letters the light and charm of Provence and urged me to come and join him.'"
– curator's notes from the Tate Gallery
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| Maurice de Vlaminck Trees 1913-14 oil on canvas National Museum Cardiff (Wales) |
"This view of 1913-14 probably depicts the banks of the Seine near Bougival. A characteristic example of Vlaminck's fascination with Cézanne, its dark blue and green palette is typical. One of a group of works by Vlaminck purchased by the Davies sisters in 1920, Margaret Davies gave it away shortly before her death."
– curator's notes from the National Museum Cardiff
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| Jean Metzinger Le Village ca. 1914 oil on canvas Pallant House Gallery, Chichester, Sussex |
"Described by André Salmon in 1911 as 'le jeune prince du Cubisme' Metzinger was one of the earliest devotees of the movement. In 1908 he was introduced to the poet Guillaume Apollinaire and his circle, which included Georges Braque and Pablo Picasso, who were to have a profound influence on his art. He participated with Robert Delaunay, Albert Gleizes and Fernand Léger in the controversial Salle 41, the first informal group exhibition of Cubist painters in 1911."
– curator's notes from the Pallant House Gallery
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| Félix Vallotton Route à St Paul (Var) 1922 oil on canvas Tate Modern, London |
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| Jean Marchand Les Terrasses ca. 1920 oil on canvas Ashmolean Museum, Oxford |
"Marchand was trained at the École des Beaux-Arts in Paris. His landscapes recall the work of Cézanne and Gauguin. At an early stage, he became known as a painter who was able to give his compositions a clear structure, create forms and evoke emotions through shape and colour. In this case, as in other landscapes painted shortly after the First World War, he confined the architecture to the background, drawing a sharp contrast with the trees and abbreviated figures in the foreground."
– curator's notes from the Ashmolean Museum
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| Jean Marchand Woman Reading ca. 1930 oil on canvas The Wilson, Cheltenham, Gloucestershire |
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| Louis Marcoussis Still Life in front of a Balcony 1928 oil on canvas Kelvingrove Art Gallery and Museum, Glasgow |
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| Robert Delaunay Endless Rhythm 1934 oil on canvas Tate Modern, London |
"It is likely that Endless Rhythm was created in Delaunay's studio at 3 Rue des Grands-Augustins in Paris. Oil paint has been applied to the canvas in a series of controlled, rhythmic lines. The painting was significantly reworked by the artist during production; there is evidence that the disks originally moved from lower right to top left. . . . Delaunay's interest in the intersection of music, visual art and colour theory had long dominated his work. In December 1921 he described the emphasis of his newly developed abstract art (called simultanism and rechristened orphism by his friend, the poet Guillaume Apollinaire), which was derived from his earlier Cubist style: 'the simultaneity of colours through simultaneous contrasts and through all the uneven quantities that emanate from the colours, in accordance with the way they are expressed in the movement represented – that is the only reality one can construct through painting'."
– curator's notes from the Tate Gallery
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| Émile Bouneau A Small Boy in a Red Shirt ca. 1935 oil on board York City Art Gallery |