Updated октобар 2026 · ranked by our popularity score (searches, visits and orders for each work) · 354 works by Andre Deren in our catalogue
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bathers (1907) is recorded as the most famous painting of Andre Deren. London Bridge (1906) and Charing Cross from sw (1906) occupy the second and third entries. Of the 354 works by Andre Deren recorded in the catalogue, the 100 best known are listed below, each entry with its date, the holding museum and a note on the work.
To stand before André Derain's Bathers is to step directly into the exhilarating heart of the early twentieth century art revolution. This painting, executed in 1907, is not merely a depiction of figures by water; it is a pure explosion of color and emotion rendered through the lens of Fauvism. The very air around the canvas seems charged with the energy of bold pigment. Derain, a key figure alongside Henri…
In the heart of 1906, a revolution was unfolding on canvas, and André Derain was one of its most daring architects. His masterpiece, London Bridge, is far more than a mere architectural study; it is a visceral explosion of emotion captured through the lens of Fauvism. While the London fog is traditionally associated with muted greys and somber tones, Derain defies the atmospheric reality of the Thames to present a…
Charing Cross from SW: A Fauvist Symphony of London André Derain’s “Charing Cross from SW” isn't merely a depiction of a London landmark; it’s an explosion of feeling, a vibrant declaration of the Fauvist movement at its peak. Painted in 1906, this artwork captures a bustling scene along the Thames, dominated by the iconic Charing Cross bridge, yet rendered through a lens entirely unique to Derain's revolutionary approach to color…
To stand before André Derain’s Landscape at L'Estaque is not merely to observe a scene; it is to be enveloped by a burst of pure, unadulterated chromatic energy. Painted in 1906, this oil on canvas stands as a vibrant manifesto of the Fauvist movement—a style that dared to liberate color from the shackles of mere description. Here, the natural world of L'Estaque is rendered not with photographic accuracy, but with…
To gaze upon André Derain's Hyde Park is to step directly into the effervescent heart of early 20th-century Parisian life. This painting, executed in 1906, is far more than a mere depiction of an afternoon stroll; it is a vibrant celebration of modern leisure captured through the revolutionary lens of Fauvism. The scene unfolds with an almost palpable energy—a tapestry woven from bold color and dynamic movement. We see figures…
The artwork titled The Turning Road, L'Estaque - (129.5x195) was painted by André Derain. This work was created in 1906. The subject matter is situated in L'Estaque, a location in southern France that has since been subsumed by the city of Marseille.
To stand before André Derain’s "Cypresses" is to step directly into the vibrant heart of early twentieth-century French modernism. This captivating oil-on-panel, dating from 1907, is far more than a mere depiction of a landscape; it is an explosion of color and emotion captured by an artist at the zenith of his revolutionary period. The scene unfolds with a profound sense of natural grandeur: a field dotted with resilient pine…
To stand before André Derain’s Portrait of Madame Paul Guillaume with a large hat is to step directly into the vibrant, charged atmosphere of an early twentieth-century artist's studio. This painting is far more than a mere likeness; it is a meditation on creativity itself. The subject, seated amidst the beautiful chaos of artistic tools—canvases leaning against unseen supports, palettes bearing the ghosts of color—commands our attention with a serene…
André Derain’s “Drying the Sails,” painted in 1905, isn't merely a depiction of a harbor scene; it’s an explosion of color and emotion—a quintessential embodiment of the Fauvist movement. Born from a confluence of artistic influences and a desire to break free from traditional representation, this painting captures a fleeting moment on the French coast, imbued with a raw energy that continues to resonate with viewers today. Derain, alongside Henri…
In the annals of modern art, few moments capture the raw, unbridled energy of a revolution quite like André Derain’s Mountains at Collioure. Painted during the feverish summer of 1905, this masterpiece serves as a vibrant manifesto of the Fauvist movement, a period when color was liberated from the shackles of reality to serve the needs of pure emotion. As one gazes upon this canvas, the eye is immediately swept…
Effect of Sun on the Water, London1906
12
Still Life on the Table1904
13
Harbour of Collioure1905 · Staatsgalerie Stuttgart
14
Black Scarf1935
15
Houses of Parliament at Night, London1906 · Metropoliten музеј у Њујорку
16
Landscape (Blue)1906
17
Landscape near Chatou1904
18
Landscape at Collioure1905
19
The Dance1906
20
Still Life with Fruit1940 · Harris Museum - Art Gallery
21
Cassis
22
Road to Castel Gandolfo
23
Music1904
24
The Houses of Parliament and Westminster Bridge1906
25
Head of a Young Woman1923 · Statens Museum For Kunst
26
Sorrowful Landscape1946
27
Landscape at Cadaques1913
28
Collioure1905
29
Jane keeping an apple1938
30
Martigues1908
31
Harlequin1923 · Statens Museum For Kunst
32
Sitting Female Model, Semi-Nude1933 · Statens Museum For Kunst
33
Boy's Head1914 · Statens Museum For Kunst
34
Portrait of Lucien Gilbert1906
35
The Two Sisters, Statens Museum för Kunst, Cope1913 · Statens Museum For Kunst
36
Landscape near Chatou1904
37
The beautiful model1923
38
Fishing Boats, Colioure1905 · Metropoliten музеј у Њујорку
39
View from the window (The Calvary)1912 · Kunstmuseum Basel
40
Knight on a white horse
41
Boats at Colliure
42
The Lighthouse at Collioure1905 · Musée d’Art Moderne de la Ville de Paris
43
Nude with Folded Arms1924 · Statens Museum For Kunst
44
Golden age1940
45
Madame Matisse in a Kimono1905
46
The Gavotte1906
47
Portrait of Iturrino, Musée National d'Art Mode1914
48
The Gypsy1926 · Musée d’Art Moderne de la Ville de Paris
49
Portrait of Madame Derain1923 · Statens Museum For Kunst
50
Head of a Woman1923 · Gothenburg Museum of Art
51
Nude1923
52
Head of a Girl With Black Hair (Femme avec cheveux noir) from Metamorphoses1927
53
Dikran G. Kelekian1924
54
Rita van Leer1928
55
Marie Harriman1935
56
Fishing Boats, Collioure1905 · MoMA - Muzej moderne umetnosti
57
Landscape1907
58
Still Life with Pipe1911 · Statens Museum For Kunst
59
Pinewood near Sausset-les-Pins1913 · Statens Museum For Kunst
60
Le Phare de Collioure
61
The Last Supper1911 · Art Institute of Chicago
62
Jeune Fille
63
Woman in a Chemise
64
Martigues Landscape1908
65
The road1932
66
Bacchus dance1906
67
The Estaque
68
Road in the mountains
69
The river
70
Back
71
untitled (9936)
72
L'Estaque1906
73
Boats at Collioure1905
74
Landscape in the Ile-de-France1904
75
Harlequin i Pierrot1924 · Musée de l'Orangerie
76
The Church near Carrières-sur-Seine1909 · Statens Museum For Kunst
77
Portrait of a Man With a Newspaper1913 · Ermitaž
78
Portrait of Alice Derain1921
79
Bougival1904
80
Landscape by the Sea: the Côte d'Azur near Agay1905 · Nacionalna galerija Kanade
81
Lucien Gilbert1905 · Metropoliten музеј у Њујорку
82
Baker's hotel1904
83
Bal des soldats à Suresnes, Saint Louis Art Mus1903
84
Fishing Port, Collioure1905
85
Funeral1899
86
The Bridge, view on the river1905 · Музеј Тисен-Борнемиза
87
Still Life, Bread and Fruit
88
Three Trees, L’Estaque1906 · Izraelski muzej
89
The Red Sails1906
90
Cagnes1910 · Art Institute of Chicago
91
Landscape
92
The salt ponds of Martigues1908
93
Seated Nude, Back Turned
94
Portrait-of-the-Artist
95
Head of a Woman from the portfolio Metamorphoses
96
Woman Resting Her Head on Her Hand from the portfolio Metamorphoses 2
97
The Sunken Path, L'Estaque1906
98
untitled (4464)
99
untitled (4767)
100
The Old Bridge
The four subjects most frequently represented among these works, each with its best-known example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Andre Deren | Paintings from this list |
|---|---|---|---|
 Statens Museum For Kunst |
Kopenhagen | 17 | Head of a Young Woman, Harlequin, Sitting Female Model, Semi-Nude |
 Metropoliten музеј у Њујорку |
Њујорк | 4 | Houses of Parliament at Night, London, Fishing Boats, Colioure, Lucien Gilbert |
 Musée d’Art Moderne de la Ville de Paris |
Pariz | 7 | The Lighthouse at Collioure, The Gypsy |
 MoMA - Muzej moderne umetnosti |
New York City | 4 | London Bridge, Fishing Boats, Collioure |
 Art Institute of Chicago |
Čikago | 3 | The Last Supper, Cagnes |
 National Gallery of Art |
Washington | 2 | Charing Cross from sw |
 Musee d'Art Moderne de Troyes |
Troyes | 2 | Hyde Park |
 Pushkin State Museum |
Moskva | 2 | Drying the Sails |
Select a decade to display its principal painting.
To stand before André Derain's Bathers is to step directly into the exhilarating heart of the early twentieth century art revolution. This painting, executed in 1907, is not merely a depiction of figures by water; it is a pure explosion of color and emotion rendered through the lens of Fauvism. The very air around the canvas seems charged with the energy of bold pigment. Derain, a key figure alongside Henri…
To stand before André Derain’s Portrait of Madame Paul Guillaume with a large hat is to step directly into the vibrant, charged atmosphere of an early twentieth-century artist's studio. This painting is far more than a mere likeness; it is a meditation on creativity itself. The subject, seated amidst the beautiful chaos of artistic tools—canvases leaning against unseen supports, palettes bearing the ghosts of color—commands our attention with a serene…
To stand before André Derain's "Black Scarf" is to step directly into the effervescent, color-drenched heart of early 20th-century Paris. Painted in 1935, this oil on canvas transcends a mere portrait; it is a vibrant manifesto rendered in pigment. The composition immediately arrests the viewer with its bold chromatic choices—the striking contrast between the woman's vivid red dress and the deep mystery of her black scarf. She stands poised, an…
André Derain’s Still Life with Fruit – A Fauvist Vision of Rural Tranquility The painting “Still Life with Fruit,” executed by André Derain in 1940, stands as a quintessential example of Fauvist art—a movement that irrevocably altered the course of European painting. Born in Chatou, France, in 1880, Derain initially pursued engineering before discovering his true vocation amidst the burgeoning artistic circles of Paris. His formative years were spent absorbing…
bathers (1907). The following entries are London Bridge (1906) and Charing Cross from sw (1906).
27 years: Andre Deren was born in 1880 and bathers is dated 1907.
bathers, London Bridge, Charing Cross from sw, Landscape at L'Estaque, Hyde Park, The Turning Road, L'Estaque - (129.5x195), Cypresses, Portrait of Madame Paul Guillaume with a large hat, Drying the Sails and Mountains at Collioure. The list above records the date and holding museum of each.
The catalogue records 354 works by Andre Deren, dated between 1899 and 1946.
Principally in Statens Museum For Kunst (Kopenhagen), Metropoliten музеј у Њујорку (Њујорк) and Musée d’Art Moderne de la Ville de Paris (Pariz). The museum table above gives the full distribution.
In 1900s: 45 of the 100 works listed on this page are dated to that period, including bathers.
The earliest dated work listed here is Funeral (1899); the latest is Sorrowful Landscape (1946).
Landscape (17), Trees (12) and Boats (10), out of the 100 works listed on this page.
Oil On Canvas, in 46 of the 100 works listed on this page.
Fauvism, as documented by the works on this page.
Head of a Young Woman, Harlequin and Sitting Female Model, Semi-Nude are among the 10 works on this page in the collection of the Statens Museum For Kunst, Kopenhagen.
Yes. Each work listed on this page can be ordered from its own entry as a hand-painted oil reproduction or a fine art print, in a size of your choice.
Godine 1880, Андре Деран je došao na svet u Šatu, gradiću smeštenom u regiji Ivelin u Francuskoj. Njegove rane godine oblikirali su tihi pejzaži Île-de-France regije, gde je prirodna radoznalost prema okolini počela da pušta koren. Već do 1895. godine počeo je da studira samostalno, nastojeći da vizuelni svet razume sopstvenim očima, a ne kroz formalnu nastavu. Ovaj period samostalnog istraživanja omogućio mu je da razvije lični način posmatranja pre nego što su stroga pravila akademije uspela da mu nametnu svoju volju.
Put slikara nije bio jedina njegova razmatranja. Godine 1898. tražio je strukturiranije obrazovanje, kratko studirajući za inženjera na Akademiji Kamilo. Upravo u tim akademskim salama njegov život je dobio odlučujući preokret; pohađao je časove slikanja kod Ežena Karijera i tamo upoznao Henrija Matisa. Ovaj susret će promeniti tok njegovog života, odvlačeći ga od preciznosti inženjeringa ka ekspresivnim mogućnostima platna. Njegove ambicije su bile snažne, ali je njegov napredak prekinut vojnim obavezama. Od septembra 1901. pa do 1904. godine, obavljao je vojnu službu u Komersiju, što je bio period odvojenosti koji je privremeno zaustavio njegov rastući umetnički razvoj.
Leto 1905. godine donelo je iznenadnu, blistavu promenu u živote koje su delili Андре Деран i Henri Matise. Putovali su zajedno u ribaričko mesto Koljur, u mesto gde je svetlost kao da je zahtevala potpuno novi način posmatranja. U tom obalnom okruženju, umetnik je počeo da se udaljava od tradicionalnih pravila reprezentacije. Njegov rad iz perioda od 1905. do 1906. godine definisan je razuzganim kolorizmom koji je šokirao one naviknute na suptilnije tonove. Koristio je pojednostavljene crteže i preuveličano korišćenje boje kako bi uhvatio samu esenciju pejzaža, dajući prednost intenzivnim, nepomešanim nijansama nasuprot naturalističkim tonovima sveta.
Ovaj radikalan pristup slikarstvu izazvao je snažnu reakciju javnosti i šire press kulture. Umetnici su dočekani sa tolikim zaprepašćenjem da su dobili nadimak Les Fauves, ili divlje zveri. Taj naziv, iako je prvobitno bio namenjen da se ismeva njihovo navodno nedostatak discipline, prihvaćen je od strane same grupe. Deranova platna tokom ovih godina nisu pokušavala da replikuju scenu kao što bi to učila fotografija, već su koristila boju kao direktan izraz osećaja. Bojeći su odvažno, sa zapanjujućim paletama, ovi radovi su označili koračanje u nepoznato i odmak od svega što je prethodno postojalo.
U martu 1906. godine, umetnički posrednik Ambrož Volar video je novi pravac za umetnika i poslao ga u London. Ovo nije bio običan izlet, već namenski nalog da se uhvati suština grada koji je dugo bio predmet istraživanja mnogih slikara. Андре Деран je stigao u englesku prestonicu i počeo da posmatra urbani pejzaž kroz prizmu intenzivnih boja, udaljavajući se od mirne tišine francuske ruralne sredine. Težio je tome da energiju metropole prevede u nešto što se oseća, a ne samo vidi.
Tokom ovog perioda, umetnik je stvorio seriju od trideset slika, okrenuvši pažnju na Temzu i impozantnu arhitekturu grada. Nije pokušavao da replikuje sive magle koje se često povezuju sa ovom rekom; umesto toga, koristio je odvažne nijanse kako bi prikazao kretanje vode i siluete mostova. Njegova vizija grada predstavljala je radikalni odmak od atmosferskih studija onih koji su ga prethodili. Fokusirao se na strukturnu težinu znamenitosti i promenljivu svetlost urbanog okruženja.
Ova dela su ostala među njegovim najpopularnijim kreacijama, jer su ponudila svež pogled na već utabani ambijent. Fokusirajući se na Temzu i most Tower, on je uspeo da uhvati osećaj moderniteta i nemirnog kretanja. Debeli slojevi boje i nekonvencionalna paleta omogućili su mu da portretiše grad kao živo, dišuće biće svetlosti i senki.
Kako su godine prolazile, divlje impulse njegove mladosti počeli su da se smiruju. Oko 1907. godine, promena je obuzela njegovu ruku i oko, a njegovi radovi su postali austere. Neobuzdane boje koje su nekada definiisale njegova platna ustupile su mesto disciplinovanijem pristupu. Ova promena nije bila iznenadni prekid, već postepeni pokret ka strukturi i formi. Андре Деран je tražio drugačiju vrstu istine, onu koja se nalazi u tihoj snazi kompozicije, a ne u šoku boje.
Tokom perioda od 1911. do 1914. godine, ušao je u fazu koju su mnogi nazivali njegovim gotičkim periodom. U to vreme, njegovo interesovanje za stare majstore i klasične forme postalo je izraženije. Odmakao se od glasnih, nepomešanih pigmenata iz ranih godina, tražeći umesto toga kontrolisaniji i intelektualno rigorozniji način posmatranja. To je bilo vreme traženja, u kojem se osvrtao na temelje umetnosti kako bi pronašao novi put napred.
Veliki rat je još jednom promenio pejzaž njegovog života i njegove umetnosti. Nakon sukoba, on se pojavio kao lider pokreta poznatog kao Povratak redu. Ovaj novi klasicizam tražio je stabilnost i jasnoću u eri dubokih promena. Postao je centralna figura u ovom preporodu, pomažući da se pravac umetnosti usmerava ka strukturiranijoj i tradicionalnijoj estetici. Njegov rad je odražavao tu želju za redom, obuhvatajući osećaj trajnosti koji je nedostajao tokom njegovih eksperimentalnijih godina.
Kako su godine prolazile, umetnička interesovanja Андре Дерана širila su se dalje od platna, upućavajući ga u svet pozorišne umetnosti. Godine 1919, okrenuo je svoj kreativni pogled ka sceni, dizajnirajući balet La Boutique Fantasque za Ballets Russes. Ovaj podvig u dizajnu scenografije i kostima otkrio je osećaj ritma i spektakla koji je savršeno dopunio njegovu evoluirajuću estetiku. Njegova sposobnost da privuče pažnju kroz formu i boju nastavila je da bude priznata među kolegama, što je kulminiralo dodelom prestižne Karnegijeve nagrade 1928. godine.
Kasnije decenije njegovog života obeležio je neprestani trag u potrazi za novim klasicizmom, što je predstavljalo odmak od divljih impulsa njegove mladosti. Андре Деран je ostao aktivan u svetu umetnosti, čak i dok se politički pejzaž Evrope dramatično menjao oko njega. Na kraju, preminuo je 8. septembra 1954. godine, ostavivši za sobom bogat opus koji je prošao kroz mnoge različite načine izražavanja.
Potresi koje je izazvao fauvistički pokret, čiji je Андре Деран bio jedan od osnivača uporedo sa Henrijem Matisom, protegli su se daleko izvan prvobitnog šoka koji su njihovi izbori boja izazvali u javnosti. Razbijanjem tradicionalnih okova koje su vezivale boju za fizički svet, on je pomogao da se osloži put za strukturne inovacije kubizma, kao i za emocionalni intenzitet koji pronalazimo u modernom ekspresionizmu. Njegova nemirna potraga za novim vizuelnim jezikom značila je da su lekcije naučene u suncem okupanim pejzažima Koljura na kraju putovale na sever, utičući na razvoj nemačkog ekspresionizma. On nije samo slikao; on je pomogao u redefiniciji same suštine i svrhe poteza četkicom.
Njegov uticaj ostao je stalno prisutan za naredne generacije umetnika koji su nastojali da uspostave ravnotežu između sirove energije njegovih ranih godina i strukturirane discipline njegovih kasnijih radova. Čak i kada se njegov sopstveni stil pomerio ka strožijem i klasičnijem pristupu, radikalni duh njegove mladosti nastavio je da odjekuje. Dokazao je da umetnik može kretati se između divljih, nepomešenih nijansi svoje mladosti i kontrolisanog, intelektualnog strogog pristupa, a da pritom ne izgubi svoju kreativnu istinu. Ova prilagodljivost osigurala je da njegovo prisustvo u istoriji moderne umetnosti ostane neporecivo, čak i kada su pokreti koje je pomogao da se rodi evoluirali u potpuno nove forme.
