Fauvism 18127 226075496 2008-07-16T18:44:49Z Fothergill Volkensniff IV 6838849 /* Salon D'Automne 1905 */ <!--DO NOT CHANGE SPELLING FROM UK TO US. "COLOUR" IS CORRECT. SEE [[WP:ENGVAR]].--> [[Image:Matisse - Green Line.jpeg|thumb|[[Henri Matisse]], ''Portrait of Madame Matisse (The green line),'' [[1905]], [[Statens Museum for Kunst]], [[Copenhagen, Denmark]]]] '''Les Fauves''' ([[French language|French]] for ''The Wild Beasts'') were a short-lived and loose grouping of early 20th century [[Modern art]]ists whose works emphasized [[painterly]] qualities and strong colour over the representational values retained by [[Impressionism]]. While Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only three years, 1905&ndash;1907, and had three exhibitions.<ref name=elderfield13>[[John Elderfield]], The ''"Wild Beasts" Fauvism and Its Affinities,'' 1976, [[Museum of Modern Art]], p.13, ISBN 0-87070-638-1</ref>The leaders of the movement were [[Henri Matisse]] and [[André Derain]].<ref name=elderfield13/> ==Artists and style== The leaders of the movement were [[Henri Matisse]] and [[André Derain]]. Other artists included [[Albert Marquet]], [[Charles Camoin]], the Belgian painter [[Henri Evenepoel]], [[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]]).<ref name=elderfield13/> 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 [[Abstract art|abstraction]].<ref name=tate-fauvism>[http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=102 "Glossary: Fauvism], [[Tate]], retrieved [[29 December]] [[2007]].</ref> Fauvism can be classified as an extreme development of [[Vincent van Gogh|Van Gogh]]'s [[Post-Impressionism]] fused with the [[pointillism]] of [[Georges-Pierre Seurat|Seurat]]<ref name=tate-fauvism/> and other [[Neo-Impressionism|Neo-Impressionist]] painters, in particular [[Paul Signac]]. Other key influences were [[Paul Cezanne]]<ref>Freeman, 1990, p. 15.</ref> and [[Paul Gauguin]],{{fact|date=December 2007}} who in 1888 had said to [[Paul Sérusier]]:<ref>Collins, Bradley, ''Van Gogh and Gauguin: Electric Arguments and Utopian Dreams'', 2003, Westview Press, p. 159, ISBN 0-81334-157-4.</ref> {{cquote|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]].<ref name=tate-fauvism/> ==Genesis== [[Gustave Moreau]] was the movement's inspirational teacher;<ref>Freeman, Judi, et al, ''The Fauve Landscape'', 1990, Abbeville Press, p. 243, ISBN 1-55859-025-0.</ref> a controversial professor at the [[École des Beaux-Arts]] in Paris and a [[Symbolist painters|Symbolist painter]], he taught Matisse, Marquet, Manguin, Roualt and Camoin during the 1890s, and was viewed by critics as the group's philosophical leader until Matisse was recognized as such in 1904.<ref>Freeman, 1990, p. 243.</ref> Moreau's broad-mindededness, originality and affirmation of the expressive potency of pure colour was inspirational for his students.<ref name=dempsey>Dempsey, Amy. ''Styles, Schools and Movements: An Encyclopedic Guide to Modern Art'', pp.66-69, Thames & Hudson Ltd., London, 2002.</ref> Matisse said of him, "He did not set us on the right roads, but off the roads. He disturbed our complacency."<ref name=dempsey/> This source of empathy was taken away with Moreau's death in 1898, but the artists discovered other catalysts for their development.<ref name=dempsey/> In 1896, Matisse, then an unknown art student, visited the artist [[John Peter Russell]] on the island of [[Belle Île]] off [[Brittany]].<ref name=abc>[http://www.abc.net.au/rn/arts/booktalk/stories/s1430343.htm "Book talk: The Unknown Matisse..."], [[Radio National|ABC Radio National]], interview with [[Hilary Spurling]], [[8 June]] [[2005]]. Retrieved [[1 January]] [[2008]].</ref> Russell was an [[Impressionism|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."<ref name=abc/> 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."<ref name=abc/> Russell had been a close friend of [[Vincent van Gogh]] and gave Matisse a Van Gogh drawing.<ref name=abc/> [[Image:Matisse-Luxe.jpg|thumb|[[Henri Matisse]], ''Luxe, Calme et Volupté'', 1904, [[Centre Georges Pompidou|Musée National d'Art Moderne.]]]] In 1901, [[Maurice de Vlaminck]] encountered the work of [[Vincent van Gogh|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.<ref name=dempsey/> 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''.<ref name=dempsey/> Another aesthetic feeding into their work was African sculpture, which Vlaminck, Derain and Matisse were early collectors of.<ref name=dempsey/> 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]].<ref name=dempsey/> ==Salon D'Automne 1905== [[Image:Matisse-Woman-with-a-Hat.jpg|thumb|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.<ref name=oup-fauvism>Chilver, Ian (Ed.). [http://www.enotes.com/oxford-art-encyclopedia/fauvism "Fauvism"], The Oxford Dictionary of Art, Oxford University Press, 2004. Retrieved from enotes.com, [[26 December]] [[2007]].</ref> [[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.<ref> Smith, Roberta (2006)[http://www.nytimes.com/2006/07/14/arts/design/14rous.html?_r=1&oref=slogin&pagewanted=print "Henri Rousseau: In imaginary jungles, a terrible beauty lurks"] ''The New York Times'', [[July 14]] [[2006]]. Accessed [[29 December]] [[2007]]</ref> [[Image:Rousseau-Hungry-Lion.jpg|thumb|left|[[Henri Rousseau]], ''The Hungry Lion Throws Itself on the Antelope'', 1905|thumb]] Vauxcelles' comment was printed on [[17 October]] [[1905]] in ''[[Gil Blas (periodical)|Gil Blas]]'', a daily newspaper, and passed into popular usage.<ref name=oup-fauvism/><ref>Elderfield,p.43</ref> 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 (1872–1945), but also some favourable attention.<ref name=oup-fauvism/> The painting that was singled out for attacks was Matisse's ''[[Woman with a Hat]]'', which was bought by [[Gertrude Stein|Gertrude]] and [[Leo Stein]]: this had a very positive effect on Matisse, who was suffering demoralisation from the bad reception of his work.<ref name=oup-fauvism/> ==Gallery== <gallery> Image:Matisse-Open-Window.jpg|[[Henri Matisse]], ''[[The Open Window|Open Window, Collioure]]'', 1905, [[National Gallery of Art]], [[Washington, DC.]] Image:The Turning Road, L´Estaque.jpg|[[Andre Derain]], ''The Turning Road, L´Estaque'' 1906, The [[Museum of Fine Arts, Houston]] Image:Derain CharingCrossBridge.png|[[André Derain]], ''Charing Cross Bridge, London,'' 1906, [[National Gallery of Art]], [[Washington, DC.]] Image:SeineChatou.JPG|[[Maurice de Vlaminck]], ''The River Seine at Chatou,'' 1906, [[Metropolitan Museum of Art]] Image:Vlaminck-TheCircus.jpg|[[Maurice de Vlaminck]], ''The Circus'', 1906 Image:Dongen-Hat.jpg|[[Kees van Dongen]], ''Woman with Large Hat,'' 1906 </gallery> ==See also== *[[Art history]] *[[Visual Arts and Design]] *[[History of Painting]] *[[Western painting]] *[[Neo Fauvism]] == Further reading == * {{cite book | author=Gerdts, William H.| title=[http://www.hollistaggart.com/publications/index.htm#fauves The Color of Modernism: The American Fauves] | location=New York | publisher=Hollis Taggart Galleries | year=1997 | pages = 160 p}} * {{cite book | author=Whitfield, Sarah | title=Fauvism | location=London | publisher=Thames and Hudson | year=1991 | id=ISBN 0-500-20227-3}} ==Notes and references== {{reflist}} ==External links== *[http://www.nga.gov/exhibitions/fauveinfo.shtm Fauve Painting from the Permanent Collection at the National Gallery of Art] *[http://www.sanderhome.com/Fauves/ ''Fauvism: The Wild Beasts of Early Twentieth Century Art''] {{Fauvism}} {{Post-Impressionism}} {{Modernism}} {{Westernart}} [[Category:Fauvism|*]] [[Category:French art]] [[Category:Modern art]] [[Category:Post-Impressionism]] [[Category:Western art]] [[Category:Art movements]] [[an:Faubismo]] [[bs:Fovizam]] [[bg:Фовизъм]] [[ca:Fauvisme]] [[cs:Fauvismus]] [[de:Fauvismus]] [[et:Fovism]] [[el:Φωβισμός]] [[es:Fauvismo]] [[eo:Faŭvismo]] [[eu:Fauvismo]] [[fa:فوویسم]] [[fr:Fauvisme]] [[gl:Fauvismo]] [[ko:야수파]] [[hr:Fovizam]] [[id:Fauvisme]] [[it:Fauves]] [[he:פוביזם]] [[ka:ფოვიზმი]] [[lv:Fovisms]] [[hu:Fauvizmus]] [[nl:Les Fauves]] [[ja:フォーヴィスム]] [[no:Fauvisme]] [[pl:Fowizm]] [[pt:Fovismo]] [[ro:Fauvism]] [[ru:Фовизм]] [[sk:Fauvizmus]] [[sl:Fauvizem]] [[sr:Фовизам]] [[fi:Fauvismi]] [[sv:Fauvism]] [[vi:Trường phái dã thú]] [[tr:Fovizm]] [[uk:Фовізм]] [[zh:野兽派]]