"Good painting is like good food; it can be tasted, but not explained." -- Maurice de Vlaminck

Born on April 4, 1876 in Paris, Maurice de Vlaminck (1876-1958) grew up in a family of musicians. He led a hard life in early years and earned his livelihood by performing violin, giving music lessons and cycling professionally. At the age of 19, he began to enroll in some painting classes. In addition, Vlaminck had a strong interest in music and novels. On his way back to Paris for vacation from his army service between 1898 and 1900, he met a local artist, André Derain, with whom he struck up a lifelong friendship. The two like-minded youths decided to work together, and rented a rundown tavern to serve as their studio in Chatou. It was there they founded the Chatou School of Art, which served as the origin of inspiration for Fauvism. During that period, Derain recalled:“I was immersed in colors all day. We talked about nothing but color - how to use colors which the sun breathes life into.” Afterwards, along with Henri Matisse, they moved to Collioure to paint. There, they formed a unique style dubbed“Fauvism” that would spark both sensation and controversy at the 1905 Salon d'Automne exhibition in Paris.

Maurice de Vlaminck, André Derain and Henri Matisse are considered the three principal figures in the Fauvism movement. Between 1905 and 1908, their works all reveal Fauvism traits and highlight extremely bold personalities. Fauvism is a modern painting movement that flourished in France from 1898 to 1908. In pursuit of a more subjective and fiercer level of brushwork that emphasizes on the two-dimensional art form of pure color and decoration. Fauvism has had an indelible impact on the development of Western painting. Showing a clear trend for freehand brushwork, they drew on the expressive techniques of Eastern and African art to create an abstract and simple artistic conception different from Western classical painting.

Created during 1935 to 1938, this work, Bouquet de fleurs de champs, exemplifies Vlaminck's sophisticated and superb level of brushstroke filled with an irrepressible charm and sense of maturity. The brushwork features traces that emulate Van Gogh' application of paint daubs that endow color with an intense appeal, while completely unmasking the stereoscopic effect of the flowers with short, choppy brushstrokes. However, in addition to the exquisite brushwork, the wildly loose daubs of paint embody the spontaneous and impulsive nature of Fauve paintings. Brisk and smooth, the petals are managed in intermittent strokes, revealing their exquisiteness and bringing out the elegance of the vase. Pure colors including white, red and blue were applied in thick daubs as the primary colors, whose sharp contrast fills the canvas with a rhythm and tension. Vlaminck continued a Post-impressionism Yorkapplication of color, as well as showcased the boldness of Fauvism. The processing of the work's background further enhances the flowers and leaves. The sophisticated use of dabs and lines forms striking contrasts of light and shade. In the dark setting, the blooming flowers in the vase coupled with a scene of calm vase curves produce a poetic scene of“life like gorgeous summer flowers” that sets off the compositional theme of the work. In this regard, art historian and art critic Jean Selz praised Vlaminck, stating that“Striking contrasts of light and shade and introduction of more sombre tones all contribute to the harmony of Vlaminck's canvas.”

Vlaminck once said: "I heightened all the color tones, and transposed all the things I felt into an orchestration of pure color.” He applied intense colors straight from the paint tube onto the canvas in a unique and spontaneous style. As can be seen, Vlaminck not only developed upon Van Gogh's application of inconsistent brushstrokes and intense color, but also demonstrated a sense of depth and space for still life through a harmonious and ample manner. With a comprehensive composition, the work, Bouquet de fleurs de champs, is a masterpiece characterized by both a sense of enchantment and balanced solemness, marking a departure from Vlaminck's other Fauve paintings inspired by Van Gogh. This is a distinctly important work by Vlaminck created during a transitional period for his artistic career.