Nu au chat - André Derain
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Description
A contemplative study of a seated female figure and a cat, rendered in the restrained, classicising style of André Derain's later career.
André Derain, a figure associated with the early twentieth-century avant-garde, produced this work during his later period, which moved away from the radical colour experiments of Fauvism. In this composition, the artist focuses on the sculptural quality of the human form. The seated female figure is rendered with a sense of weight and volume, her posture suggesting a quiet, contemplative moment. The inclusion of the cat, positioned near the base of the chair, provides a domestic counterpoint to the classical arrangement of the nude.
Derain employs a muted, earthy palette that emphasises the texture of the skin and the surrounding shadows. The lighting is directed to model the figure, creating soft transitions across the torso and limbs. Unlike his earlier, more expressive works, this painting demonstrates a return to traditional modes of representation, reflecting the broader European interest in classicism that emerged after the First World War. The brushwork is controlled, allowing for a smooth finish that prioritises form over gesture.
The background is kept minimal, ensuring the viewer remains focused on the interaction between the subject and the space she occupies. The dark tones of the cat and the drapery provide a visual anchor, balancing the lighter, warmer tones of the figure. This piece offers a view into Derain's technical approach to portraiture and his ability to balance anatomical accuracy with a simplified, modern aesthetic. It is a study in composure, where the subject exists in a state of stillness, removed from the urgency of the modern world. The work remains a clear example of the artist's shift toward a more restrained and disciplined style in the 1920s.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Nu au chat - André Derain
Artist Biography
Andre Derain
He was born in Chatou in 1880 and had originally studied to become an engineer. He met Matisse in 1898 while attending painting classes under Eugene Carriere. The Fauvist paintings are explosions of unnatural colour: trees in orange, water in violet, shadows in green. They were among the most radical works produced in Paris at the turn of the century.
By 1908, Derain was already breaking with the style. He turned to Cezanne, then passed through a Cubist phase, and by the 1920s had arrived at a fully Neoclassical manner. The wildest of the Fauves became one of the most conservative painters in France. The conservative turn brought financial success and mainstream praise. During the Second World War, the Nazis approved of his Neoclassical work. After the war, he was unjustly accused of collaboration. His reputation never fully recovered. He died in 1954.
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