The Thames in Neon
Derain didn't go to London to see the fog. He went because Ambroise Vollard handed him a commission and told him to make the city look modern. London in 1906 was a city of soot and grey smoke but Derain saw something else entirely. He looked at the Thames and decided that reality was a suggestion he could afford to ignore.
This was the peak of the Fauve movement. They called them wild beasts and you can see why in the way Derain handled Charing Cross Bridge. The sky is a flat wash of yellow. It ignores every rule of perspective and atmospheric depth. There is no hazy horizon line here. It is just raw heat and vibrating light. The water below isn't liquid. It is a mosaic of pure pigment. Each dab of paint sits next to its neighbor like a piece of glass in a broken window.
He used clashing primary colors to fight the drab reality of the British capital. Red and blue and yellow collide on the canvas without any polite transition. It is an emotional landscape rather than a map. Derain wasn't interested in the Victorian order of the world. He wanted to capture the pulse of a city that was moving too fast for traditional brushes to keep up. He took the grey heart of the empire and turned it into a riot of color that still feels loud over a century later.
References
Derain, André. Charing Cross Bridge, London. 1906. Oil on canvas. National Gallery of Art, Washington, D.C.
Vollard, Ambroise. Recollections of a Picture Dealer. London, Constable, 1936.
Freeman, Judi. The Fauve Landscape. New York, Abbeville Press, 1990.