Fauvism ( / f oʊ v ɪ z əm / FOH -viz-əm ) is a style of painting and an art movement that emerged in France at the beginning of the 20th century. It was the style of les Fauves ( French pronunciation: [le fov] , the wild beasts ), a group of 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 1904 and continued beyond 1910, the movement as such lasted only a few years, 1905–1908, and had three exhibitions. The leaders of the movement were André Derain and Henri Matisse .
23-567: Der Sturm ( transl. The Storm ) was a German avant-garde art and literary magazine founded by Herwarth Walden , covering Expressionism , Cubism , Dada and Surrealism , among other artistic movements. It was published between 1910 and 1932. Der Sturm was established in Berlin in 1910 by Herwarth Walden, and its first issue appeared on 3 March that year. It ran weekly from 1910 to 1914, monthly from 1914 to 1924, and quarterly until it ceased publication in 1932. From 1916 to 1928, it
46-655: Is a list of magazines which contain avant-garde material and content. One of their common characteristics was their unpredictable appearance. Notable avant-garde magazines include: Fauvism Besides Matisse and Derain, other artists included Robert Deborne , Albert Marquet , Charles Camoin , Bela Czobel , Louis Valtat , Jean Puy , Maurice de Vlaminck , Henri Manguin , Raoul Dufy , Othon Friesz , Adolphe Wansart , Georges Rouault , Jean Metzinger , Kees van Dongen , Émilie Charmy and Georges Braque (subsequently Picasso's partner in Cubism ). The paintings of
69-670: Is closely related to Paul Cézanne 's Bathers , a series that would soon become a source of inspiration for Picasso's Les Demoiselles d'Avignon . The elected members of the hanging committee included Matisse, Signac and Metzinger. The third group exhibition of the Fauves occurred at the Salon d'Automne of 1906, held from 6 October to 15 November. Metzinger exhibited his Fauvist/Divisionist Portrait of M. Robert Delaunay (no. 1191) and Robert Delaunay exhibited his painting L'homme à la tulipe (Portrait of M. Jean Metzinger) (no. 420 of
92-611: The Italian Futurists , Cubists and Orphists , the gallery was to exhibit Edvard Munch , Georges Braque , Pablo Picasso , Jean Metzinger , Albert Gleizes , Robert Delaunay , Gino Severini , Jean Arp , Paul Klee , Wassily Kandinsky , Serge Charchoune and Kurt Schwitters . After the war, Walden expanded Der Sturm into Sturmabende , lectures and discussions on modern art, and Die Sturmbühne , an expressionist theatre, as well as publishing books and portfolios by leading artists such as Oskar Kokoschka . Despite this,
115-504: The Salon des Indépendants in the spring of 1905. Following the Salon d'Automne of 1905, which marked the beginning of Fauvism, the Salon des Indépendants of 1906 marked the first time all the Fauves would exhibit together. The centerpiece of the exhibition was Matisse's monumental Le Bonheur de Vivre (The Joy of Life). Critics were horrified by its flatness, bright colors, eclectic style and mixed technique. The triangular composition
138-433: 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. Matisse said of him, "He did not set us on the right roads, but off the roads. He disturbed our complacency." This source of empathy was taken away with Moreau's death in 1898, but
161-478: 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 of Cubism . Gustave Moreau was the movement's inspirational teacher; a controversial professor at the École des Beaux-Arts in Paris and a Symbolist painter , he taught Matisse, Marquet, Manguin, Rouault, and Camoin during
184-885: 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 Van Gogh 's Post-Impressionism fused with the pointillism of Seurat and other Neo-Impressionist painters, in particular Paul Signac . Other key influences were Paul Cézanne and 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 Paul Sérusier : "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. Some of
207-598: The Gallery closed in 1932, it had shown works by over 30 female painters and sculptors – more than any other gallery of the era. The magazine also fostered the Galerie Der Sturm, started by Walden to celebrate its 100th edition, in 1912. The gallery became the focus for Berlin's modern art scene for a decade. Starting with an exhibition of Fauves and Der Blaue Reiter , followed by the introduction in Germany of
230-556: The artists discovered other catalysts for their development. In 1896, Matisse, then an unknown art student, visited the artist John Russell on the island of Belle Île off the coast of Brittany . 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." The next year he returned as Russell's student and abandoned his earth-colored palette for bright Impressionist colors, later stating, "Russell
253-543: 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 . Another aesthetic influence was African sculpture, of which Vlaminck , Derain and Matisse were early collectors. Many of the Fauve characteristics first cohered in Matisse's painting, Luxe, Calme et Volupté ("Luxury, Calm and Pleasure"), which he painted in
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#1732780848607276-548: The catalogue). Matisse exhibited his Liseuse , two still lifes ( Tapis rouge and à la statuette ), flowers and a landscape (no. 1171–1175). Robert Antoine Pinchon showed his Prairies inondées ( Saint-Étienne-du-Rouvray , près de Rouen) (no. 1367), now at the Musée de Louviers , painted in Fauvist style, with golden yellows, incandescent blues, thick impasto and larger brushstrokes. Paul Cézanne, who died during
299-416: The critic Camille Mauclair (1872–1945)—but also some favorable attention. 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. Matisse's Neo-Impressionist landscape, Luxe, Calme et Volupté , had already been exhibited at
322-973: The gallery declined in importance after the war and closed in 1924, leaving the magazine to carry on as a quarterly until it too closed in 1932. However, concerning the exact closing date of the Der Sturm Art Gallery (an offshoot of the magazine) as Maurice Godé, wrote in his book "Der Sturm of Herwarth Walden or the utopia of an autonomous art", the author wanted to promote the German "avant-garde" arts by means of both resident and touring exhibitions. Accordingly, Walden organized, until 1932, more than 200 exhibitions in its premises in Berlin plus multiple other touring exhibitions (Wanderausstellungen) in Germany and also in most other major European cities. [REDACTED] Media related to Der Sturm at Wikimedia Commons List of avant-garde magazines This
345-491: The magazine were the Sturmbücher (storm-books), (e.g. Sturmbücher 1 and 2 were works of August Stramm – Sancta Susanna und Rudimentär ). Postcards were also created featuring the expressionistic, cubist , and abstract art of Franz Marc , Wassily Kandinsky , Oskar Kokoschka , August Macke , Gabriele Münter , Georg Schrimpf , Maria Uhden, Rudolf Bauer and others. The term Sturm was branded by Walden to represent
368-427: 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 "orgy of pure tones" with a Renaissance -style sculpture by Albert Marque that shared the room with them. Henri Rousseau
391-539: The show on 22 October, was represented by ten works. His works included Maison dans les arbres (no. 323), Portrait de Femme (no. 235) and Le Chemin tournant (no. 326). Van Dongen showed three works, Montmartre (492), Mademoiselle Léda (493) and Parisienne (494). André Derain exhibited 8 works, Westminster-Londres (438), Arbres dans un chemin creux (444) along with 5 works painted at l'Estaque . Camoin entered 5 works, Dufy 7, Friesz 4, Manguin 6, Marquet 8, Puy 10, Valtat 10, and Vlaminck
414-494: The summer of 1904, while he was in Saint-Tropez with Paul Signac and Henri-Edmond Cross . After viewing the boldly colored canvases of Henri Matisse , André Derain , Albert Marquet , Maurice de Vlaminck , Kees van Dongen , Charles Camoin , Robert Deborne 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
437-571: The way in which modern art was penetrating Germany at the time. Particularly in the time before outbreak of the World War I , Der Sturm played a crucial role in the French-German exchange of expressionist artists, which led to a special relationship between Berlin and Paris . Regularly, poems and other texts of French and/or French-speaking expressionists were published ( Guillaume Apollinaire , Blaise Cendrars , etc.). This relationship
460-973: Was edited by the artist and Bauhaus teacher Lothar Schreyer The magazine was modeled on the Italian literary magazine La Voce which was published in Florence from 1908 to 1916. Among the literary contributors were Peter Altenberg , Max Brod , Paul Leppin, Richard Dehmel , Alfred Döblin , Anatole France , Knut Hamsun , Arno Holz, Karl Kraus , Selma Lagerlöf , Adolf Loos , Heinrich Mann , Paul Scheerbart , and René Schickele. Der Sturm consisted of pieces such as expressionistic dramas (i.e. from Hermann Essig [ de ; fr ] and August Stramm ), artistic portfolios ( Oskar Kokoschka and Curt Stoermer ), essays from artists (the Kandinsky Album ), and theoretical writings on art from Herwarth Walden . The best known publications resulting from
483-420: Was my teacher, and Russell explained color theory to me." Russell had been a close friend of Vincent van Gogh and gave Matisse a Van Gogh drawing. 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. In parallel with
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#1732780848607506-524: 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. Vauxcelles' comment was printed on 17 October 1905 in Gil Blas , a daily newspaper, and passed into popular usage. The pictures gained considerable condemnation—"A pot of paint has been flung in the face of the public", wrote
529-469: Was renewed after the war despite the hostilities between the two countries caused by the fighting. The magazine also contained avant-garde poetry examples. Der Sturm stood out from other art magazines of that time by including the art created by women. The exhibitions organized by the magazine included works of Gabriele Münter , Sonia Delaunay , Else Lasker-Schüler , Marianne von Werefkin , Natalia Goncharova , Jacoba van Heemskerck and others. Before
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