Portrait of a Woman - André Derain
Archival giclée
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Description
A striking portrait by André Derain, featuring a subject in a bold blue garment against a neutral background, rendered with structural clarity and restraint.
This portrait by André Derain captures a subject with a direct, unadorned gaze. Painted during the artist's post-Fauvist period, the work demonstrates a shift toward a more restrained, classical sensibility. Derain moves away from the explosive colour palettes of his earlier years, opting instead for a controlled application of pigment that prioritises form and structural clarity.
The figure is draped in a striking blue garment, which provides a bold contrast against the neutral, cream-toned background. The brushwork is deliberate, with visible strokes that define the contours of the face and the folds of the fabric. The artist employs a simplified approach to anatomy, focusing on the essential geometry of the sitter's features. Her hand, resting against the chest, is rendered with minimal detail, yet it conveys a sense of quiet presence. The dark, arched shape behind the head acts as a framing device, drawing the viewer's attention to the subject's expression.
Derain's interest in the traditions of European painting is evident here. He engages with the history of portraiture while maintaining a distinctly modern perspective. The composition is balanced and static, avoiding unnecessary ornamentation. By stripping back the visual information, the artist invites the viewer to consider the psychological weight of the sitter. This piece is representative of the interwar period in French art, where many painters sought a return to order and a renewed focus on the human figure. The work remains a clear example of Derain's ability to synthesise classical influences with the stylistic developments of the early twentieth century.
Return policy
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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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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
Portrait of a Woman - 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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