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Student Artwork Guide

The Lighthouse at Collioure

André Derain, 1905

Name Class Date
André Derain, The Lighthouse at Collioure (1905), Musee d'art Moderne de la Ville de Paris. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
André Derain originaluniqueart.com/en/artists/andre-derain/
Artist’s dates
1880 – 1954
Painted
1905
Medium
Oil On Canvas
Movement
Fauvism Wild, unnatural colour used straight from the tube — critics called the painters "wild beasts".
Held at
Musee d'art Moderne de la Ville de Paris originaluniqueart.com/en/museums/musee-d-art-moderne-de-la-ville-de-paris-paris/
Artistic style
Vibrant colors
Influences
Impressionism
Notable elements
Dynamic composition
Subject or theme
Coastal landscape

Copyright This work is in the public domain. André Derain died in 1954; copyright lasts 70 years after the artist’s death, so it ended in 2024.

Source: OriginalUniqueArt.com — accessed Oct. 10, 2026

The Lighthouse at Collioure — André Derain Part 1 · The artwork

In context

The Lighthouse at Collioure — André Derain

When was this painted?

  1. 1880
  2. 1890
  3. 1900
  4. 1910
  5. 1920
  6. 1930
  7. 1940
  8. 1950

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 74 at death.

Painted when the artist was 25. The artist lived to 74. 8 of the 165 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of André Derain (1880–1954) ▲ this work, 1905 every dated painting, decade by decade

First works: up to 1906 Main working years: 1906–1924 Late works: from 1924

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/andre-derain-the-lighthouse-at-collioure-8YDDQA-en/

Colours

Measured from the image

    Main colour

    Orange #e8a716

    Catalogued palette

    • #E8A716
    • #746E79
    • #544826
    • #D0C381

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Orange
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Vivid Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by André Derain over the last twelve months — 36 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 33.3%9,200 visits
    2. 2 United States of America 9.8%2,700 visits
    3. 3 France 8.0%2,200 visits
    4. 4 Argentina 7.6%2,100 visits
    5. 5 United Kingdom 5.1%1,400 visits
    6. 6 South Korea 3.6%1,000 visits
    7. 7 Hong Kong 3.3%900 visits
    8. 8 Brazil 2.5%700 visits
    9. 9 Chile 2.5%700 visits
    10. 10 Italy 2.5%700 visits
    11. · 26 other countries 21.8%6,000 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by André Derain

    1. 1 Charing Cross Bridge, London 15.0%6,500 visits
    2. 2 Landscape at Collioure (also known as Mountains at Collioure), 1905 6.7%2,900 visits
    3. 3 Drying the Sails, 1905 3.0%1,300 visits
    4. 4 Woman in a Chemise, 1906 3.0%1,300 visits
    5. 5 The Lighthouse at Collioure, 1905 this painting 2.5%1,100 visits
    6. 6 Charing Cross Bridge, 1906 2.5%1,100 visits
    7. 7 Harlequin and Pierrot, 1924 2.3%1,000 visits
    8. 8 Fishing Boats, Colioure, 1905 2.3%1,000 visits
    9. 9 Mountains at Collioure 2.1%900 visits
    10. 10 Charing Cross Bridge, 1906 2.1%900 visits
    11. 11 Cypresses, 1907 2.1%900 visits
    12. 12 Effect of Sun on the Water, London, 1906 2.1%900 visits
    13. 13 Portrait of Matisse, 1905 1.8%800 visits
    14. 14 Houses of Parliament at Night, London, 1906 1.6%700 visits
    15. 15 Landscape by the Sea: The Côte d'Azur near Agay, 1905 1.6%700 visits
    16. 16 The Cypresses at Cassis, 1907 1.4%600 visits
    17. 17 The Turning Road, L'Estaque - (129.5x195), 1906 1.4%600 visits
    18. 18 Fishing Boats, Collioure, 1905 1.4%600 visits
    19. 19 Charing Cross from sw, 1906 1.4%600 visits
    20. 20 London Bridge, 1906 1.4%600 visits

    Together these works take 57.7% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 309 works by this artist, of which 130 were looked at at least once. This painting ranks 5 of them, with 2.5% of that attention (1,100 visits). The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Source: OriginalUniqueArt.com — accessed Oct. 10, 2026

    The Lighthouse at Collioure — André Derain Part 2 · In context

    About this artwork

    The Lighthouse at Collioure — André Derain

    The Lighthouse at Collioure: A Fauvist Symphony of Light and Emotion

    André Derain’s “The Lighthouse at Collioure,” painted in 1905, isn't merely a depiction of a coastal scene; it’s an immersive experience—a vibrant explosion of color and movement that encapsulates the heart of the Fauvist movement. Housed within the Musée d’art Moderne de la Ville de Paris, this oil on canvas transports the viewer to the picturesque harbor village of Collioure in southern France, capturing not just a landscape but also a fleeting moment of intense feeling. The painting immediately assaults the senses with its audacious palette: searing yellows and oranges dominate the sky and buildings, juxtaposed against deep ultramarine blues and greens of the sea and surrounding vegetation. This deliberate departure from naturalistic color was a defining characteristic of Fauvism – a rebellion against academic tradition where color served not to represent reality but to express emotion directly.

    Derain’s technique is equally striking. He employs loose, expressive brushstrokes, applying paint with a visible and energetic hand. The forms are simplified and flattened, prioritizing the impact of color and light over meticulous detail. Notice how he uses broken color—small dabs of contrasting hues layered upon each other—to create shimmering effects on the water and to suggest the play of sunlight. This technique, combined with his use of bold outlines, contributes to a sense of dynamism and immediacy, as if the scene is constantly shifting and evolving before our eyes. The lighthouse itself, rendered in stark white against the vibrant backdrop, acts as a focal point, drawing the viewer’s gaze into the heart of the composition.

    A Window into Fauvism's Soul

    To understand “The Lighthouse at Collioure,” it’s crucial to grasp the context of its creation. The late 1890s and early 1900s witnessed a profound shift in artistic sensibilities, fueled by advancements in color theory and a growing dissatisfaction with the constraints of academic art. Derain, along with Henri Matisse, spearheaded the Fauvist movement – a short-lived but hugely influential period characterized by its unrestrained use of color, often divorced from naturalistic representation. The term “Fauves” (wild beasts) was initially applied derisively by critic Louis Vauxcelles, reflecting the critics’ perception of the artists' work as chaotic and primitive. However, the Fauves embraced this label, recognizing it as a badge of rebellion against established artistic norms.

    The painting reflects the Fauvist fascination with light and atmosphere. Derain wasn’t simply recording what he saw; he was attempting to capture the feeling of being present in that particular moment – the warmth of the sun, the freshness of the sea air, the vibrant energy of the harbor. The inclusion of multiple smaller lighthouses scattered throughout the scene adds a layer of complexity and reinforces this sense of movement and visual richness. The composition itself is deliberately unbalanced, creating a dynamic tension that mirrors the emotional intensity of the subject matter.

    Symbolism and Emotional Resonance

    Beyond its purely aesthetic qualities, “The Lighthouse at Collioure” carries significant symbolic weight. The lighthouse, a traditional symbol of guidance and safety, can be interpreted as representing hope and stability amidst the chaos of life. Its stark white form stands in contrast to the swirling colors of the surrounding landscape, suggesting a desire for clarity and direction. The harbor itself, with its bustling activity and diverse elements – boats, buildings, people – embodies the complexities and contradictions of human experience. The painting’s overall mood is one of joyful exuberance tempered by a subtle undercurrent of melancholy—a recognition that even in moments of beauty and vibrancy, there exists an underlying sense of transience.

    The choice of Collioure as the setting for this pivotal work is also noteworthy. The village, with its distinctive architecture and stunning coastal scenery, provided Derain with a perfect canvas for his artistic experiments. It was a place where he could freely explore color and form without the constraints of traditional expectations. “The Lighthouse at Collioure” remains a powerful testament to Derain’s genius—a vibrant celebration of light, color, and emotion that continues to captivate viewers over a century later.

    Source: OriginalUniqueArt.com — accessed Oct. 10, 2026

    The Lighthouse at Collioure — André Derain Part 3 · About this artwork

    Artist and museum

    Artist

    André Derain

    Born in Chatou, France

    Early Life and the Seeds of Fauvism

    André Derain, born in 1880 in the charming village of Chatou near Paris, wasn’t initially destined for a life steeped in paint and canvas. Contrary to some narratives suggesting an immediate artistic awakening through encounters with fellow painters like Vlaminck or Matisse, Derain embarked on his artistic journey independently around 1895. These early explorations were often undertaken alongside Father Jacomin and his sons during countryside excursions—a formative experience that instilled a deep appreciation for the natural world. He briefly pursued engineering at the Académie Camillo in 1898, where fatefully, he crossed paths with Henri Matisse, initiating a pivotal artistic partnership. Further studies under Eugène Carrière honed his foundational skills, but it was military service from 1901 to 1904 that temporarily interrupted his burgeoning career. Upon his return, persuaded by the unwavering belief of Matisse, Derain decisively abandoned engineering and fully committed himself to painting, continuing his education at the Académie Julian. This commitment marked a turning point, setting him on a path toward becoming a central figure in one of modern art’s most revolutionary movements.

    The Explosive Birth of Color: Fauvism

    The summer of 1905 proved to be an explosive moment for Derain and Matisse as they collaborated in the sun-drenched coastal village of Collioure. This period birthed works like “Mountains at Collioure,” characterized by a radical departure from representational color. The landscapes weren’t merely depictions of places; they were expressions of feeling, rendered through intensely vibrant, non-naturalistic hues. When their work was exhibited at the Salon d'Automne that same year, it provoked outrage and astonishment. Critic Louis Vauxcelles famously dubbed them “Les Fauves”—the wild beasts—a name initially intended as derisive but ultimately embraced by the artists themselves. Derain’s contribution to this movement wasn’t merely stylistic; he possessed a unique ability to translate emotional intensity into pure color. In 1906, Ambroise Vollard commissioned him to paint London, resulting in a series of striking canvases depicting the Thames and Tower Bridge. These weren't conventional cityscapes; they were bold interpretations, capturing the energy and atmosphere of London through an unconventional lens—a testament to Derain’s innovative vision. Influenced by artists like Van Gogh and Cézanne, he pushed the boundaries of color and form, laying the groundwork for future generations of expressionist painters.

    Beyond Fauvism: A Shifting Aesthetic

    The initial fervor of Fauvism didn't define Derain’s entire artistic trajectory. Around 1907, his style began a significant evolution, moving away from the unrestrained chromatic exuberance toward more subdued tones and an increased emphasis on form. This period, often referred to as his “gothic” phase (1911-1914), reflected a growing interest in structure and composition. He immersed himself in the study of Old Masters, incorporating elements of Cubism while simultaneously seeking inspiration from classical forms. This wasn’t a rejection of his earlier work but rather an expansion of his artistic vocabulary. Derain's versatility extended beyond painting; in 1919, he designed the ballet “La Boutique Fantasque” for Sergei Diaghilev’s Ballets Russes, demonstrating his aptitude for theatrical design and further showcasing his diverse talents. Key works from this era, such as "Harlequin and Pierrot" and the monumental mural "Return of Ulysses," exemplify this stylistic shift—a move toward a more controlled and intellectually rigorous approach to artmaking.

    Legacy and Complexities

    André Derain’s place in art history is secure as a co-founder of Fauvism, a movement that irrevocably altered the course of modern painting. His unique vision of London, captured in his vibrant canvases, offered a fresh perspective on an iconic city. After World War I, he gained renewed recognition for his contributions to a revival of classicism, demonstrating his adaptability and enduring artistic relevance. However, Derain’s later life was marked by controversy. During World War II, his presence in Germany drew criticism, leading to ostracization from some former supporters after the war. Despite this shadow, his influence on subsequent generations of artists remains undeniable. He died in 1954, leaving behind a body of work that continues to captivate and inspire. His legacy is not simply one of bold colors and expressive brushstrokes but also of an artist who constantly challenged himself, explored new avenues of expression, and left an indelible mark on the landscape of modern art. He stands as a testament to the power of artistic innovation and the complexities inherent in navigating a rapidly changing world. Derain’s journey reminds us that true artistry lies not in adhering to a single style but in the relentless pursuit of creative truth.

    Museum

    Musee d'art Moderne de la Ville de Paris

    On show in Paris, France

    A Beacon of Innovation: The Musée National d'Art Moderne

    The Musée National d’Art Moderne, nestled within the iconic Centre Pompidou in the heart of Paris, is more than just a repository of twentieth and twenty-first century art; it’s a testament to the relentless pursuit of artistic evolution. Opened in 1977, the museum itself was revolutionary – a deliberate rejection of traditional, imposing architectural forms. Designed by Renzo Piano and Richard Rogers, its “inside-out” aesthetic, with exposed structural elements and brightly colored pipes snaking across the façade, immediately signaled a new era for art institutions. This bold exterior wasn’t merely stylistic; it embodied the museum's commitment to accessibility and transparency, inviting the public into the creative process rather than presenting art as something remote and untouchable. The building became an instant landmark, sparking debate but ultimately solidifying Paris’s position at the forefront of contemporary culture.

    A Collection Forged in Revolution

    The museum's collection is breathtaking in its scope, charting the major movements that defined modern art from 1905 to the present day. It began with a generous donation from Gertrude Stein and her husband Leo, providing a foundation of early Cubist works by Picasso, Matisse, and Braque. However, the true impetus for the museum’s growth came from the French state's commitment to acquiring groundbreaking art as it emerged. Visitors can trace the evolution of Fauvism through vibrant canvases bursting with color, delve into the fragmented realities of Cubism, experience the dreamlike world of Surrealism with masterpieces by Dalí and Magritte, and confront the raw energy of Abstract Expressionism. The collection doesn’t shy away from challenging works; it embraces the radical experimentation of movements like Fluxus and Nouveau Réalisme, showcasing art that questioned not only aesthetic conventions but also societal norms. A particular strength lies in its holdings of French artists – Matisse, Picasso (who spent significant time working in Paris), Miró, and Yves Klein are all exceptionally well-represented.

    Beyond the Canvas: Sculpture, Design & New Media

    While painting forms a cornerstone of the Musée National d’Art Moderne's collection, its vision extends far beyond traditional mediums. The museum boasts an impressive array of sculpture, from the pioneering work of Constantin Brancusi to the monumental installations of Alexander Calder. Recognizing the growing importance of design in shaping modern life, the collection also includes significant examples of furniture, graphic arts, and industrial objects. In recent decades, the museum has actively embraced new media – video art, digital installations, and performance pieces are integral parts of its programming, reflecting a commitment to showcasing the most innovative forms of artistic expression. This dedication ensures that the museum remains relevant, constantly engaging with the evolving landscape of contemporary art.

    A History of Landmark Exhibitions

    Throughout its history, the Musée National d’Art Moderne has hosted exhibitions that have shaped the discourse around modern and contemporary art. Early shows focused on establishing the core narratives of the collection, introducing French audiences to movements like Pop Art and Minimalism. More recently, the museum has been lauded for its ambitious thematic exhibitions, exploring complex issues such as globalization, identity, and environmental concerns through the lens of art. The institution’s willingness to take risks – showcasing emerging artists alongside established masters, and tackling politically charged subjects – has cemented its reputation as a vital cultural force. In 2021, despite the challenges posed by the pandemic, the museum ranked among the world's most visited art institutions, attracting over 1.5 million visitors eager to engage with its dynamic collection and thought-provoking programming. The museum continues to be a place where dialogue is sparked, boundaries are pushed, and the future of art is imagined.

    Where to read more

    Find this online

    QR code linking to the download page for The Lighthouse at Collioure

    originaluniqueart.com/en/art/download/andre-derain-the-lighthouse-at-collioure-8YDDQA-en/

    Cite this artwork

    MLA
    Derain, André. The Lighthouse at Collioure. 1905, Musee d'art Moderne de la Ville de Paris. https://originaluniqueart.com/en/art/andre-derain-the-lighthouse-at-collioure-8YDDQA-en/
    APA
    Derain, André (1905). The Lighthouse at Collioure [Painting]. Musee d'art Moderne de la Ville de Paris. https://originaluniqueart.com/en/art/andre-derain-the-lighthouse-at-collioure-8YDDQA-en/
    Chicago
    André Derain. The Lighthouse at Collioure. 1905. Musee d'art Moderne de la Ville de Paris. https://originaluniqueart.com/en/art/andre-derain-the-lighthouse-at-collioure-8YDDQA-en/
    Harvard
    Derain, André (1905) The Lighthouse at Collioure. Musee d'art Moderne de la Ville de Paris. Available at: https://originaluniqueart.com/en/art/andre-derain-the-lighthouse-at-collioure-8YDDQA-en/

    Source: OriginalUniqueArt.com — accessed Oct. 10, 2026

    The Lighthouse at Collioure — André Derain Part 4 · Artist and museum

    Look closely

    The Lighthouse at Collioure — André Derain

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: lighthouse, collioure, french coast. Do you agree? What would you add, or take away?
    4. Look back at Landscape at Collioure (also known as Mountains at Collioure) (1905), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Fauvism: Wild, unnatural colour used straight from the tube — critics called the painters "wild beasts". Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Source: OriginalUniqueArt.com — accessed Oct. 10, 2026

    The Lighthouse at Collioure — André Derain Part 5 · Look closely

    Art quiz

    The Lighthouse at Collioure — André Derain

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What artistic movement is André Derain most associated with?

      • A Cubism
      • B Fauvism
      • C Impressionism

    2. 2. The painting 'The Lighthouse at Collioure' depicts a scene primarily set in:

      • A London
      • B Collioure, France
      • C Paris

    3. 3. What is a defining characteristic of the Fauvist style as exemplified by this painting?

      • A Realistic depiction of light and shadow
      • B Use of bold, non-naturalistic colors
      • C Detailed rendering of architectural elements

    4. 4. According to the description, what time of day is depicted in 'The Lighthouse at Collioure'?

      • A Night
      • B Dawn
      • C Daytime

    5. 5. André Derain’s artistic journey included a brief period of study in engineering. What ultimately led him to abandon this path?

      • A Financial difficulties
      • B A desire to work with architecture
      • C Persuasion by Henri Matisse

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1B · 2B · 3B · 4C · 5C

    Check any answer against the catalogue record for this painting

    Source: OriginalUniqueArt.com — accessed Oct. 10, 2026

    The Lighthouse at Collioure — André Derain Part 6 · Art quiz

    Questions & Answers

    Where do the visitors of "The Lighthouse at Collioure" by André Derain come from?

    A Stats page exists for "The Lighthouse at Collioure". It charts the monthly visits of the artwork and of the artist's other works, with country and language breakdowns.

    How does "The Lighthouse at Collioure" by André Derain connect Fauvism to the artist's home country?

    The Fauvism work "The Lighthouse at Collioure" was made by an artist born in France.

    What are the author and date of "The Lighthouse at Collioure"?

    André Derain made "The Lighthouse at Collioure" in 1905.