Derain spent the summer of 1911 painting and sketching near the village of Camiers. After his return to Paris, he painted The Bagpiper
which is said to have been inspired by the memory of a shepherd piper who had strolled past as Derain was painting the village below. Derain may have been working on The Road at Camiers
which the background of this painting closely resembles.A few years before this, Derain had left the Fauve movement because "He came to the conclusion that most modern painters, himself among them, were too much taken up with technique; were less concerned with what to say than how they wanted to say it; in short, allowed the body to outride the spirit."1
Malcolm Vaughan says of The Bagpiper
that it is "quiet, tender, Arcadian in mood, it is the most purely lyrical picture he (Derain) has ever painted, a straight enchantment, the sort of thing that walks into your heart without so much as knocking to come in. Feeling its spell and remembering the circumstances in which it was done, you are inclined to agree with Wordsworth that 'poetry is emotion remembered in tranquility.'"2Endnotes
Referenced Work of Art
- Malcolm Vaughan, Derain, New York, Hyperion Press, Harper Brothers, 1941, p. 33.
- Ibid., p. 56.
- André Derain, French, 1880-1954. The Bagpiper 1910-1911. Oil on canvas, 74" x 59". Signed lower right: aDerain. Accession 61.36.10.CollectionsAndré Derain, Paris; Galerie Kahnweiler, Paris; John Quinn, New York; Curt Valentin Gallery, New York; James Thrall Soby, New York; Buchholz Gallery, New York; P. D. McMillan, Minneapolis, 3 May, 1949; The Minneapolis Institute of Arts; Bequest of Putnam Dana McMillan, 15 November, 1961.ExhibitedHartford, Wadsworth Atheneum, Contemporary Paintings Lent by Mr. and Mrs. James T. Soby, 1930.
Chicago, Art Institute, A Century of Progress Exhibition of Paintings and Sculpture, June-November, 1933.
New York, The Museum of Modern Art, Art in Progress, 15th Anniversary Exhibition, 23 May-7 October, 1944.
Chicago, The Arts Club, Paintings by André Derain, 3-27 January, 1947.ReferencesDaniel Henry, André Derain, Leipzig, Klinkhardt, 1920, pl. 16.
Forbes Watson, John Quinn Collection New York, Pidgeon Hill Press, 1926, p. 45.
Daniel Catton Rich, A Century of Progress Exhibition of Paintings and Sculpture, The Art Institute of Chicago, 1933, no. 680.
Malcolm Vaughan, Derain, New York, Hyperion Press, Harper Brothers, 1941, p. 25.
Art in Progress, New York, The Museum of Modern Art, 1944, p. 42.
Denys Sutton, Derain, London, Phaidon Press, 1959, p. 32.