The Kitchen is exceptional amongVlaminck’s Fauve work in its use of flat colour-planes rather than his characteristic broken, dynamic handling; here, for once the lessons of Gauguin and the Nabis predominate over those of Van Gogh. The colour is strong and schematic. Though without the pure primaries whichVlaminckprobably adopted only after seeing Matisse’s and Derain’s paintings from Collioure in autumn of 1905.

Little ofVlaminck’s work survives from before 1904, when he began to paint regularly, often in Derain’s company, in and around Chatou. His development presents great problems of dating: The Kitchen was not exhibited until spring 1906, but it was probably painted rather earlier than this. Its simple planes, and its colour-resonant, yet darker in some areas and without clear primaries – are reminiscent of Derain’s work in winter 1904-5, such as The Old tree (Musee Natonal d’Art Moderne, Paris). The theme of the Kitchen , a complex interior space , is unusual forVlaminck, but echoes Matisse and Derain, and well as Vuillard.