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The First World War marked a turning point in Vlaminck’s oeuvre, as with other artists, and led to a rejection of the Parisian avant-garde. From the 1920s onward snowy village landscapes and forests became his most frequent motifs. These are joined by peasant scenes and haystacks in his final years. Vlaminck depicts them sombrely under storm-laden overcast skies. These works can be interpreted as idiosyncratic interpretations of late impressionism.
Vlaminck’s late work has not been researched very much up to now, and has not yet been completely catalogued. This could lie in the fact that Vlaminck sought a closeness to Nazi Germany during the Second World War, and expressly applauded National Socialist cultural policy.