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    Fauvism

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    Fauvism was an early 20th century avant-garde art movement characterized by expressive use of color and painterly techniques over realistic representation. Led by Henri Matisse and André Derain, Fauvist artists emphasized bright, clashing colors in their works from around 1904 to 1908. Key influences included Post-Impressionism, Neo-Impressionism, Gauguin's use of saturated color, and African sculpture. The movement received its name at the 1905 Salon d'Automne when their works were hung next to a classical sculpture, described by a critic as "Donatello among the wild beasts."

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    Fauvism

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    195 views5 pages
    Fauvism was an early 20th century avant-garde art movement characterized by expressive use of color and painterly techniques over realistic representation. Led by Henri Matisse and André Derain, Fauvist artists emphasized bright, clashing colors in their works from around 1904 to 1908. Key influences included Post-Impressionism, Neo-Impressionism, Gauguin's use of saturated color, and African sculpture. The movement received its name at the 1905 Salon d'Automne when their works were hung next to a classical sculpture, described by a critic as "Donatello among the wild beasts."

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    Fauvism was an early 20th century avant-garde art movement characterized by expressive use of color and painterly techniques over realistic representation. Led by Henri Matisse and André Derain, Fauvist artists emphasized bright, clashing colors in their works from around 1904 to 1908. Key influences included Post-Impressionism, Neo-Impressionism, Gauguin's use of saturated color, and African sculpture. The movement received its name at the 1905 Salon d'Automne when their works were hung next to a classical sculpture, described by a critic as "Donatello among the wild beasts."

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    © All Rights Reserved
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    Download as doc, pdf, or txt
    195 views5 pages

    Fauvism

    Uploaded by

    subir
    Fauvism was an early 20th century avant-garde art movement characterized by expressive use of color and painterly techniques over realistic representation. Led by Henri Matisse and André Derain, Fauvist artists emphasized bright, clashing colors in their works from around 1904 to 1908. Key influences included Post-Impressionism, Neo-Impressionism, Gauguin's use of saturated color, and African sculpture. The movement received its name at the 1905 Salon d'Automne when their works were hung next to a classical sculpture, described by a critic as "Donatello among the wild beasts."

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    of 5

    Fauvism is the style of les Fauves (French for "the wild beasts"), a short-lived

    and loose group of early twentieth-century Modern artists whose works


    emphasized painterly qualities and strong colour over the representational or
    realistic values retained by Impressionism. While Fauvism as a style began
    around 1900 and continued beyond 1910, the movement as such lasted only a
    few years, 19041908, and had three exhibitions.[1][2] The leaders of the
    movement were Henri Matisse and Andr Derain.

    Artists and style


    Besides Matisse and Derain, other artists included Albert Marquet, Charles
    Camoin, Louis Valtat, the Belgian painter Henri Evenepoel, Maurice Marinot,
    Jean Puy, Maurice de Vlaminck, Henri Manguin, Raoul Dufy, Othon Friesz,
    Georges Rouault, the Dutch painter Kees van Dongen, the Swiss painter Alice
    Bailly, and Georges Braque (subsequently Picasso's partner in Cubism).[1]
    The paintings of the Fauves were characterised by seemingly wild brush work
    and strident colours, while their subject matter had a high degree of
    simplification and abstraction.[3] Fauvism can be classified as an extreme
    development of Van Gogh's Post-Impressionism fused with the pointillism of
    Seurat[3] and other Neo-Impressionist painters, in particular Paul Signac. Other
    key influences were Paul Czanne[4] and Paul Gauguin, whose employment of
    areas of saturated colournotably in paintings from Tahitistrongly influenced
    Derain's work at Collioure in 1905.[5] In 1888 Gauguin had said to Paul
    Srusier:[6]
    How do you see these trees? They are yellow. So, put in yellow; this
    shadow, rather blue, paint it with pure ultramarine; these red leaves? Put
    in vermilion.
    Fauvism can also be seen as a mode of Expressionism.[3]

    [edit] Origins
    Gustave Moreau was the movement's inspirational teacher;[7] a controversial
    professor at the cole des Beaux-Arts in Paris and a Symbolist painter, he
    taught Matisse, Marquet, Manguin, Rouault and Camoin during the 1890s, and
    was viewed by critics as the group's philosophical leader until Matisse was
    recognized as such in 1904.[8] Moreau's broad-mindedness, originality and
    affirmation of the expressive potency of pure colour was inspirational for his
    students.[9] Matisse said of him, "He did not set us on the right roads, but off the
    roads. He disturbed our complacency."[9] This source of empathy was taken
    away with Moreau's death in 1898, but the artists discovered other catalysts for

    their development.[9]
    In 1896, Matisse, then an unknown art student, visited the artist John Peter
    Russell on the island of Belle le off Brittany.[10] Russell was an Impressionist
    painter; Matisse had never previously seen an Impressionist work directly, and
    was so shocked at the style that he left after ten days, saying, "I couldn't stand it
    any more."[10] The next year he returned as Russell's student and abandoned
    his earth-coloured palette for bright Impressionist colours, later stating, "Russell
    was my teacher, and Russell explained colour theory to me."[10] Russell had
    been a close friend of Vincent van Gogh and gave Matisse a Van Gogh drawing.
    [10]

    Henri Matisse, Luxe, Calme et Volupt, 1904, Muse National d'Art Moderne.
    In 1901, Maurice de Vlaminck encountered the work of Van Gogh for the first
    time at an exhibition, declaring soon after that he loved Van Gogh more than his
    own father; he started to work by squeezing paint directly onto the canvas from
    the tube.[9]
    In parallel with the artists' discovery of contemporary avant-garde art came an
    appreciation of pre-Renaissance French art, which was shown in a 1904
    exhibition, French Primitives.[9] Another aesthetic feeding into their work was
    African sculpture, which Vlaminck, Derain and Matisse were early collectors of.
    [9]
    Many of the Fauve characteristics first cohered in Matisse's painting, Luxe,
    Calme et Volupt ("Luxury, Calm and Pleasure"), which he painted in the
    summer of 1904, whilst in Saint-Tropez with Paul Signac and Henri-Edmond
    Cross.[9]

    [edit] Salon D'Automne 1905

    Henri Rousseau, The Hungry Lion Throws Itself on the Antelope, 1905

    Henri Matisse. Woman with a Hat, 1905. San Francisco Museum of Modern Art.
    The artists shared their first exhibition at the 1905 Salon d'Automne. The group
    gained their name, after critic Louis Vauxcelles described their show of work with
    the phrase "Donatello au milieu des fauves!" ("Donatello among the wild
    beasts"), contrasting the paintings with a Renaissance-type sculpture that
    shared the room with them.[11] Henri Rousseau was not a Fauve, but his large
    jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited near
    Matisse's work and may have had an influence on the pejorative used.[12]
    Vauxcelles' comment was printed on 17 October 1905 in Gil Blas, a daily
    newspaper, and passed into popular usage.[11][13] The pictures gained
    considerable condemnation, such as "A pot of paint has been flung in the face of
    the public" from the critic Camille Mauclair (18721945), but also some
    favourable attention.[11] The painting that was singled out for attacks was
    Matisse's Woman with a Hat, which was bought by Gertrude and Leo Stein: this
    had a very positive effect on Matisse, who was suffering demoralisation from the
    bad reception of his work.[11]

    [edit] Gallery

    Andr Derain, Self-portrait


    in the Studio, 1903,
    National Gallery of
    Australia, Sydney,
    Australia

    Henri Matisse, Landscape Henri Matisse, Les toits de


    Collioure, 1905, oil on
    at Collioure, 1905,
    Museum of Modern Art, canvas, The Hermitage,
    St. Petersburg, Russia
    New York City

    Henri Matisse, Le
    bonheur de vivre, 1905-6, Henri Matisse, The Young
    Henri Matisse, Open
    Sailor II, 1906,
    Window, Collioure, 1905, Barnes Foundation,
    Merion,
    PA
    Metropolitan Museum of
    National Gallery of Art,
    Art, New York City
    Washington, DC.

    Andr Derain, Charing


    Cross Bridge, London,
    1906, National Gallery of
    Art, Washington, DC.
    Maurice de Vlaminck, The
    River Seine at Chatou,
    Kees van Dongen,
    1906, Metropolitan
    Woman with Large Hat,
    Museum of Art
    1906

    Henri Matisse, Blue Nude


    (Souvenir de Biskra),
    1907, Baltimore Museum Charles Camoin, La
    Petite Lina 1907, Oil on
    of Art
    canvas, Le Muse
    Cantini, Marseille

    Andr Derain, Landscape


    in Provence (Paysage de
    Provence) (c. 1908),
    Brooklyn Museum,
    Brooklyn

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