Portrait of Madame Paul Guillaume with a large hat - André Derain
Archival giclée
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Description
A 1928 portrait by André Derain featuring Domenica Guillaume, captured in a restrained, classical style with warm tones and soft lighting.
André Derain painted this portrait of Domenica Guillaume, the wife of the prominent art dealer Paul Guillaume, in 1928. By this period, Derain had moved away from the radical colour experiments of his Fauvist years, adopting a more classical, restrained approach to form and composition. The work reflects the artist's engagement with the traditions of European portraiture, particularly the influence of the Old Masters, while maintaining a distinctively modern sensibility.
The sitter is depicted with a calm, composed expression, framed by a wide-brimmed hat that creates a halo-like effect around her head. Derain uses a warm, earthy palette to define the volumes of her face and the folds of her draped garment. The lighting is soft, focusing attention on the sitter's features and the textures of her clothing. The background remains largely indistinct, which pushes the figure forward and creates a sense of quiet intimacy.
Derain's brushwork here is controlled and deliberate. He avoids the spontaneous, gestural marks of his earlier career in favour of a smooth, polished finish that aligns with the 'return to order' prevalent in French art during the interwar years. The portrait captures the elegance associated with the Parisian social circles of the late 1920s, yet it avoids excessive ornamentation. Instead, the focus remains on the structural integrity of the figure and the subtle interplay of light across the surfaces of the hat and fabric. This piece provides a clear view into Derain's mature style, where his technical skill is applied to create a balanced, harmonious image that prioritises clarity and form over emotional intensity or decorative flourish.
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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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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 Madame Paul Guillaume with a large hat - 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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