While the still life played an important role for the other fauves, it was less important to Vlaminck in his fauvist phase. Unlike his landscapes, he created his still lifes entirely in the studio, mainly during the winter months. They consist of only a few objects: usually a bowl of fruit, a jug or a vase, which are given a proximity to the viewer. The palette is reduced, dominated by blue. The colours become darker on the whole.
Following the waning of fauvist painting, it can be seen that Vlaminck experimented with space and perspective. In this he took inspiration mainly from two sources: the Nabis and Cézanne. In the experimental field of the still life the changes can be seen early on that Vlaminck then also applied to the landscape.
The still life from the Wuppertal collection was bought by August von der Heydt at the Paris Salon d’Automne in 1911. The purchase shows his great openness towards modern French painting, and was of ground-breaking significance for Vlaminck’s early recognition in Germany.
