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Fauvism
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Henri Matisse. Woman with a Hat, 1905. San Francisco Museum of Modern Art
Fauvism is the style of les Fauves (French for "the wild beasts"), a 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 1904 and continued beyond 1910, the movement as such lasted only a few years, 1905–1908, and had three exhibitions.[1][2] The leaders of the movement were André Derain and Henri Matisse.
Contents
[hide]
1 Artists and style
2 Origins
3 Salon d'Automne 1905
4 Gallery
5 See also
6 Notes and references
7 Further reading
8 External links
Artists and style[edit]
Press clipping, Les Fauves: Exhibition at the Salon d'Automne, in L'Illustration, 4 November 1905
Besides Matisse and Derain, other artists included Albert Marquet, Charles Camoin, Louis Valtat, Jean Puy, Maurice de Vlaminck, Henri Manguin, Raoul Dufy, Othon Friesz, Georges Rouault, Jean Metzinger, 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.[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 Cézanne[4] and Paul Gauguin, whose employment of areas of saturated color—notably in paintings from Tahiti—strongly influenced Derain's work at Collioure in 1905.[5] In 1888 Gauguin had said to 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 has been compared to Expressionism, both in its use of pure color and unconstrained brushwork.[3] Some of the Fauves were among the first avant-garde artists to collect and study African and Oceanic art, alongside other forms of non-Western and folk art, leading several Fauves toward the development Cubism.[7]
Origins[edit]
André Derain, 1906, Charing Cross Bridge, London, National Gallery of Art, Washington, DC.
Gustave Moreau was the movement's inspirational teacher;[8] a controversial professor at the 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.[8] Moreau's broad-mindedness, originality and affirmation of the expressive potency of pure color 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 Île off the coast of 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-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 Vincent van Gogh and gave Matisse a Van Gogh drawing.[10]
Henri Matisse, Luxe, Calme et Volupté, 1904, oil on canvas, 98 × 118.5 cm, Musée d'Orsay, Paris, France[11]
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 influence was African sculpture, of which Vlaminck, Derain and Matisse were early collectors.[9]
Many of the Fauve characteristics first cohered in Matisse's painting, Luxe, Calme et Volupté ("Luxury, Calm and Pleasure"), which he painted in the summer of 1904, whilst in Saint-Tropez with Paul Signac and Henri-Edmond Cross.[9]
Salon d'Automne 1905[edit]
Main article: Salon d'Automne
Henri Rousseau, The Hungry Lion Throws Itself on the Antelope, 1905, oil on canvas, 200 cm × 301 cm, Beyeler Foundation, Basel
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 chez les fauves" ("Donatello among the wild beasts"), contrasting their "orgie of tones" with a Renaissance-style sculpture that shared the room with them.[12][13]
Henri Matisse, Le bonheur de vivre, 1905-6, oil on canvas, 176.5 cm × 240.7 cm, Barnes Foundation, Philadelphia, PA
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.[14] Vauxcelles' comment was printed on 17 October 1905 in Gil Blas,[12] a daily newspaper, and passed into popular usage.[13][15] The pictures gained considerable condemnation—"A pot of paint has been flung in the face of the public", wrote the critic Camille Mauclair (1872–1945)—but also some favorable attention.[13] The painting that was singled out for attacks was Matisse's Woman with a Hat; this work's purchase by Gertrude and Leo Stein had a very positive effect on Matisse, who was suffering demoralization from the bad reception of his work.[13] Matisse's Neo-Impressionist landscape, Luxe, Calme et Volupté, had already been exhibited at the Salon des Indépendants in the spring of 1905.[16]
Gallery[edit]
Henri Matisse, Notre-Dame at the end of the Afternoon, 1902, Albright-Knox Art Gallery, Buffalo, New York
André Derain, Self-portrait in the Studio, 1903, National Gallery of Australia, Canberra, Australia
Robert Antoine Pinchon, 1904, Triel sur Seine, le pont du chemin de fer, 46 x 55 cm
Henri Matisse, Les toits de Collioure, 1905, oil on canvas, The Hermitage, St. Petersburg, Russia
Henri Matisse, Open Window, Collioure, 1905, National Gallery of Art, Washington, DC.
André Derain, 1905, Le séchage des voiles (The Drying Sails), 1905, Pushkin Museum, Moscow
Maurice de Vlaminck, 1905–06, Barges on the Seine (Bateaux sur la Seine), oil on canvas, 81 x 100 cm, Pushkin Museum, Moscow
Georges Braque, 1906, L'Olivier près de l'Estaque (The Olive tree near l'Estaque). At least four versions of this scene were painted by Braque, one of which was stolen from the Musée d'Art Moderne de la Ville de Paris during the month of May 2010.[17]
André Derain, La jetée à L'Estaque, 1906, oil on canvas, 38 x 46 cm
Henri Matisse, Portrait of Madame Matisse (The Green Stripe), 1906, Statens Museum for Kunst, Copenhagen, Denmark
Maurice de Vlaminck, The River Seine at Chatou, 1906, Metropolitan Museum of Art
Kees van Dongen, Woman with Large Hat, 1906
Henri Matisse, 1906, Self-Portrait in a Striped T-shirt, Statens Museum for Kunst, Copenhagen, Denmark
Henri Manguin, 1906, Baigneuse (Woman Bather), oil on canvas, Pushkin Museum, Moscow
Henri Matisse, 1907, Blue Nude (Souvenir de Biskra), Baltimore Museum of Art
Jean Metzinger, 1907, Paysage coloré aux oiseaux aquatiques, oil on canvas, 74 x 99 cm, Musée d’Art Moderne de la Ville de Paris
Othon Friesz, 1907, Paysage à La Ciotat, oil on canvas, 59.9 x 72.9 cm
See also[edit]
Art history
History of painting
Neo-Fauvism
Visual arts
Western painting
Notes and references[edit]
^ Jump up to: a b John Elderfield, The "Wild Beasts" Fauvism and Its Affinities, 1976, Museum of Modern Art, p.13, ISBN 0-87070-638-1
Jump up ^ Freeman, Judi, et al., The Fauve Landscape, 1990, Abbeville Press, p. 13, ISBN 1-55859-025-0.
^ Jump up to: a b c Tate (2007). Glossary: Fauvism. Retrieved on 2007-12-19, Tate
Jump up ^ Freeman, 1990, p. 15.
Jump up ^ 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, Brown courses Archived 2010-11-16 at the Wayback Machine.
Jump up ^ Collins, Bradley, Van Gogh and Gauguin: Electric Arguments and Utopian Dreams, 2003, Westview Press, p. 159, ISBN 0-8133-4157-4.
Jump up ^ Joshua I. Cohen, “Fauve Masks: Rethinking Modern 'Primitivist' Uses of African and Oceanic Art, 1905-8.” The Art Bulletin 99, no. 2 (June 2017): 136-65.
^ Jump up to: a b Freeman, p. 243
^ Jump up to: 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.
^ Jump up to: a b c d "Book talk: The Unknown Matisse...", ABC Radio National, interview with Hilary Spurling, 8 June 2005. Retrieved 1 January 2008.
Jump up ^ Matisse, Luxe, calme et volupté, 1904, Musée d'Orsay, Paris, France
^ Jump up to: a b Louis Vauxcelles, Le Salon d'Automne, Gil Blas, 17 October 1905. Screen 5 and 6. Gallica, Bibliothèque nationale de France, ISSN 1149-9397
^ Jump up to: a b c d Chilver, Ian (Ed.). "Fauvism", The Oxford Dictionary of Art, Oxford University Press, 2004. Retrieved from enotes.com, 26 December 2007.
Jump up ^ Smith, Roberta (2006). "Henri Rousseau: In imaginary jungles, a terrible beauty lurks" The New York Times, 14 July 2006. Accessed 29 December 2007
Jump up ^ Elderfield, p.43
Jump up ^ 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
Jump up ^ "Interpol issues global alert for stolen art", CNN Wire Staff, May 21, 2010
Further reading[edit]
Gerdts, William H. (1997). The Color of Modernism: The American Fauves. New York: Hollis Taggart Galleries.
Spivey, Virginia, Fauvism, Smarthistory at Khan Academy
Whitfield, Sarah (1991). Fauvism. London: Thames and Hudson. ISBN 0-500-20227-3.
External links[edit]
Wikimedia Commons has media related to Fauvisme.
Wikiquote has quotations related to: Fauvism
Fauve Painting from the Permanent Collection at the National Gallery of Art
Fauvism: The Wild Beasts of Early Twentieth Century Art
Rewald, Sabine. Fauvism. In Timeline of Art History. New York: The Metropolitan Museum of Art (2004)
Gelett Burgess, "The Wild Men of Paris: Matisse, Picasso and Les Fauves", 1910
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Henri Matisse
André Derain
Others
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Charles Camoin
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GND: 4153799-3
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Fauvisme – Afrikaans
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Fovizm – Azerbaijani
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Fovizam – Bosnian
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Fauvisme – Catalan
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Fauvismus – Czech
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Fauvisme – Danish
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Fauvismus – German
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Fovism – Estonian
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Fovismo – Spanish
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Fauvismo – Basque
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Fauvisme – French
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Fauvismo – Galician
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Fovizam – Croatian
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Fauvismo – Ido
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Fauvisme – Indonesian
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Fauves – Italian
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Fovisms – Latvian
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Fovizmas – Lithuanian
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Fauvizmus – Hungarian
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Fauvisme – Dutch
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Fauvisme – Norwegian
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Fauvisme – Norwegian Nynorsk
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Fauvisme – Occitan
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Fovizm – Uzbek
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Fowizm – Polish
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Fauvismo – Portuguese
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Fauvism – Romanian
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Fauvism – Scots
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Fauvizmus – Slovak
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Fauvizem – Slovenian
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Fovizam – Serbo-Croatian
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Fauvismi – Finnish
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Fauvism – Swedish
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Fovismo – Tagalog
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Fovizm – Turkish
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