Fauvism is the style of ( les Fauves French for "the wild beasts"), a loose group of early twentieth-century Modern artists whose works emphasized painterly qualities and strong color 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, 1904–1908, and had three exhibitions. [1 ] The leaders of the movement were [2 ] Henri Matisse and André Derain. [1 ]
Artists and style [ edit ]
Press clipping, Les Fauves: Exhibition at the Salon d'Automne, in
, 4 November 1905
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, Jean Metzinger, the Dutch painter Kees van Dongen and Georges Braque (subsequently Picasso's partner in Cubism). [1 ]
The paintings of the Fauves were characterized by seemingly wild brush work and strident colors, while their subject matter had a high degree of simplification and
abstraction. Fauvism can be classified as an extreme development of [3 ] Van Gogh's Post-Impressionism fused with the pointillism of Seurat and other [3 ] Neo-Impressionist painters, in particular Paul Signac. Other key influences were Paul Cézanne and [4 ] Paul Gauguin, whose employment of areas of saturated color—notably in paintings from Tahiti—strongly influenced Derain's work at Collioure in 1905. In 1888 Gauguin had said to [5 ] Paul Sérusier: [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 ]
Origins [ edit ]
Gustave Moreau was the movement's inspirational teacher; a controversial professor at the [7 ] École 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. Moreau's broad-mindedness, originality and affirmation of the expressive potency of pure color was inspirational for his students. [8 ] 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 ] [9 ]
In 1896, Matisse, then an unknown art student, visited the artist
John Peter Russell on the island of Belle Île off Brittany. Russell was an [10 ] 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." The next year he returned as Russell's student and abandoned his earth-colored palette for bright Impressionist colors, later stating, "Russell was my teacher, and Russell explained color theory to me." [10 ] Russell had been a close friend of [10 ] Vincent van Gogh and gave Matisse a Van Gogh drawing. [10 ]
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. In parallel with the artists' discovery of contemporary avant-garde art came an appreciation of pre- [9 ] Renaissance French art, which was shown in a 1904 exhibition, French Primitives. Another aesthetic influence was African sculpture, of which [9 ] Vlaminck, Derain and Matisse were early collectors. [9 ]
Many of the Fauve characteristics first cohered in
Matisse's painting, ("Luxury, Calm and Pleasure"), which he painted in the summer of 1904, whilst in Luxe, Calme et Volupté Saint-Tropez with Paul Signac and Henri-Edmond Cross. [9 ]
Salon D'Automne 1905 [ edit ]
After viewing the boldly colored canvases of
Henri Matisse, André Derain, Albert Marquet, Maurice de Vlaminck, Kees van Dongen, Charles Camoin, and Jean Puy at the Salon d'Automne of 1905, the critic Louis Vauxcelles disparaged the painters as " fauves" (wild beasts), thus giving their movement the name by which it became known, Fauvism. The artists shared their first exhibition at the 1905 Salon d'Automne. The group gained their name after 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. [12 ] Henri Rousseau was not a Fauve, but his large jungle scene was exhibited near Matisse's work and may have had an influence on the pejorative used. The Hungry Lion Throws Itself on the Antelope Vauxcelles' comment was printed on 17 October 1905 in [13 ] , a daily newspaper, and passed into popular usage. Gil Blas [12 ] The pictures gained considerable condemnation—"A pot of paint has been flung in the face of the public", wrote the critic [14 ] Camille Mauclair (1872–1945)—but also some favorable attention. The painting that was singled out for attacks was Matisse's [12 ] ; this work's purchase by Woman with a Hat Gertrude and Leo Stein had a very positive effect on Matisse, who was suffering demoralization from the bad reception of his work. Matisse's Neo-Impressionist landscape, [12 ] , had already been exhibited at the Luxe, Calme et Volupté Salon des Indépendants in the spring of 1905. [15 ]
Gallery [ edit ]
See also [ edit ]
Notes and references [ edit ]
^ a b c John Elderfield, The "Wild Beasts" Fauvism and Its Affinities, 1976, Museum of Modern Art, p.13, ISBN 0-87070-638-1
^ Freeman, Judi, et al., The Fauve Landscape, 1990, Abbeville Press, p. 13, ISBN 1-55859-025-0.
^ a b c Tate (2007). Glossary: Fauvism. Retrieved on 2007-12-19 from http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=102.
^ Freeman, 1990, p. 15.
^ Teitel, Alexandra J. (2005). "History: How did the Fauves come to be?". "Fauvism: Expression, Perception, and the Use of Color", Brown University. Retrieved on 2009-06-18 from http://www.brown.edu/Courses/CG11/2005/Group149/history.htm.
^ Collins, Bradley, Van Gogh and Gauguin: Electric Arguments and Utopian Dreams, 2003, Westview Press, p. 159, ISBN 0-8133-4157-4.
^ Freeman, p. 243
^ Freeman, p. 243.
^ a b c d e f g Dempsey, Amy (2002). Styles, Schools and Movements: An Encyclopedic Guide to Modern Art, pp. 66-69, London: Thames & Hudson Ltd.
^ a b c d "Book talk: The Unknown Matisse...", ABC Radio National, interview with Hilary Spurling, 8 June 2005. Retrieved 1 January 2008.
^ Matisse, Luxe, calme et volupté, 1904, Musée d'Orsay, Paris, France
^ a b c d Chilver, Ian (Ed.). "Fauvism", The Oxford Dictionary of Art, Oxford University Press, 2004. Retrieved from enotes.com, 26 December 2007.
^ Smith, Roberta (2006). "Henri Rousseau: In imaginary jungles, a terrible beauty lurks" The New York Times, 14 July 2006. Accessed 29 December 2007
^ Salon d'automne; Société du Salon d'automne, Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif. Exposés au Grand Palais des Champs-Élysées, 1905
Further reading [ edit ]
External links [ edit ]
Note sur la peinture, Pan (Paris), October–November 1910
Cubisme et tradition, Paris Journal, 16 August (1911)
Alexandre Mercereau, Vers et prose 27 (October–November 1911)
Du «Cubisme» (1912) (book), written with Albert Gleizes
Art et esthétique, Lettres Parisiennes, suppl. 9 (April 1920)
Réponse à notre enquête - Où va la peinture moderne?, written with Fernand Léger, Bulletin de l'Effort moderne, February 1924
L'Evolution du coloris, Bulletin de l'Effort moderne, Paris, 1925
Enquête du bulletin, Bulletin de l'Effort moderne, October 1925, 14–15
Metzinger, Chabaud, Chagall, Gruber et André Mouchard répondent à l'enquête des Beaux-Arts sur le métric, Beaux-Arts, 2 October 1936, 1
Un souper chez G. Apollinaire, Paris, 1946
Ecluses, Preface par Henri Charpentier, 1947
1912–1946, Afterword to reprint of Du "Cubisme" by A. Gleizes and J. Metzinger, 1947
Le Cubisme apporta à Gleizes le moyen d'écrire l'espace, Arts spectacles, no. 418, 3–9, July 1953
Structures de peinture, Structure de l'esprit, Hommage à Albert Gleizes,1954
Suzanne Phocas, Paris, Galerie de l'Institut, February 1955
Le Cubisme était né, Souvenirs, 1972