By the beginning of 20th century, the effects of modernity were being increasingly felt across European cities, as people left behind provincial life in search of the opportunities afforded by the industrial revolution. In response to the changing cityscape, many artists began to look for inspiration elsewhere, often escaping to rural spaces to seek out a connection with the natural world. One such artist was André Derain, who, in July 1905, left his home and studio in Paris to travel to the Catalan port of Collioure, where he spent the summer painting alongside other artists, including his friend and teacher Henri Matisse. Finding solace in their Mediterranean surroundings, the artists described themselves as ‘children in the face of nature,’
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At the base of the cliffs, the dense vegetation melds readily with the soil-like colour of the central road, whilst Derain places three large trees amongst the orange and green of the buildings: effectively infusing nature into the very fabric of the town. To the left of the trees, Derain again looks to Primitivism in the depiction of a terrace of cottages, outlining the roofs and walls via rough lines of dark blue paint which imitate the colour of the sea. Furthermore, the terracotta roofs, yellow walls and green doors seem to reflect the colours of surrounding land and plants, suggesting a profound harmony between the landscape and its inhabitants. This idea is emphasised as the eyes traces the line formed by the terrace, arriving at at the centre of the composition where the rest of the town is depicted as an almost indistinguishable mix of highly colourful geometric forms. Here, perspective is collapsed as walls and roofs become individual facets of brilliant colour, painted in a mix of green, orange and red. Positioned against the backdrop of the glistening blue sea, Derain enlivens the buildings of Collioure with the dynamism of their surroundings by placing complimentary colours adjacent to one another: a method likely inspired by the earlier works of Georges Seurat and Paul Signac. As the shapes of the buildings become ever smaller and less distinct, one gains the impression that they are becoming consumed by the intense blues of the surrounding water, which mingle with the edges of the town as though they are is bearing down upon it. However, that is not to suggest that a conflict exists between nature and human life, on the contrary, both worlds seem to be in an active state of agreement with one another. This idea is symbolised by the image a boat whose raw yellow form shines out from the centre of the canvas:
At the base of the cliffs, the dense vegetation melds readily with the soil-like colour of the central road, whilst Derain places three large trees amongst the orange and green of the buildings: effectively infusing nature into the very fabric of the town. To the left of the trees, Derain again looks to Primitivism in the depiction of a terrace of cottages, outlining the roofs and walls via rough lines of dark blue paint which imitate the colour of the sea. Furthermore, the terracotta roofs, yellow walls and green doors seem to reflect the colours of surrounding land and plants, suggesting a profound harmony between the landscape and its inhabitants. This idea is emphasised as the eyes traces the line formed by the terrace, arriving at at the centre of the composition where the rest of the town is depicted as an almost indistinguishable mix of highly colourful geometric forms. Here, perspective is collapsed as walls and roofs become individual facets of brilliant colour, painted in a mix of green, orange and red. Positioned against the backdrop of the glistening blue sea, Derain enlivens the buildings of Collioure with the dynamism of their surroundings by placing complimentary colours adjacent to one another: a method likely inspired by the earlier works of Georges Seurat and Paul Signac. As the shapes of the buildings become ever smaller and less distinct, one gains the impression that they are becoming consumed by the intense blues of the surrounding water, which mingle with the edges of the town as though they are is bearing down upon it. However, that is not to suggest that a conflict exists between nature and human life, on the contrary, both worlds seem to be in an active state of agreement with one another. This idea is symbolised by the image a boat whose raw yellow form shines out from the centre of the canvas: