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 .
25-533: Fauve or Fauves may refer to: Fauvism , an art movement, or 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
50-476: A Chatou (The River Seine at Chatou) and Le Verger (The Orchard) exemplify this trend. Vlaminck's compositions show familiarity with the Impressionists , several of whom had painted in the same area in the 1870s and 1880s. After visiting a Van Gogh exhibit, he declared that he "loved Van Gogh that day more than my own father". From 1908 his palette grew more monochromatic, and the predominant influence
75-408: A vehicle through which he could express mood through violent colour and brushwork. An example is Sous bois , painted in 1904. The following year, he began to experiment with "deconstruction," turning the physical world into dabs and streaks of colour that convey a sense of motion. His paintings Le Pont de Chatou (The Chatou Bridge), Les Ramasseurs de pommes de terre (The Potato Pickers), La Seine
100-670: 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
125-504: 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
150-767: The Seine , near Paris. Resentful that Fauvism had been overtaken by Cubism as an art movement Vlaminck blamed Picasso "for dragging French painting into a wretched dead end and state of confusion". During the Second World War, Vlaminck visited Germany and on his return published a tirade against Picasso and Cubism in the periodical Comoedia in June 1942. Vlaminck wrote many autobiographies. Vlaminck died in Rueil-la-Gadelière on 11 October 1958. Two of Vlaminck's groundbreaking paintings, Sur le zinc (At
175-433: 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
200-464: The Bar) and L'homme a la pipe (Man Smoking a Pipe) were painted in 1900. For the next few years Vlaminck lived in or near Chatou (the inspiration for his painting houses at Chatou ), painting and exhibiting alongside Derain, Matisse, and other Fauvist painters. At this time his exuberant paint application and vibrant use of colour displayed the influence of Vincent van Gogh . Sur le zinc called to mind
225-478: 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
250-885: 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
275-556: 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
SECTION 10
#1732771899491300-543: 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
325-548: 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
350-482: The controversial Salon d'Automne exhibition of 1905. Maurice de Vlaminck was born on Rue Pierre Lescot in Paris. His father Edmond Julien was Flemish and taught violin and his mother Joséphine Caroline Grillet came from Lorraine and taught piano. His father taught him to play the violin. He began painting in his late teens. In 1893, he studied with a painter named Henri Rigalon on the Île de Chatou . In 1894 he married Suzanne Berly. The turning point in his life
375-416: 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
400-456: The day and earned his livelihood by giving violin lessons and performing with musical bands at night. Vlaminck participated in the controversial 1905 Salon d'Automne exhibition. After viewing the boldly colored canvases of Vlaminck, Henri Matisse , André Derain , Albert Marquet , Kees van Dongen , Charles Camoin , and Jean Puy , the art critic Louis Vauxcelles disparaged the painters as " fauves " (wild beasts), thus giving their movement
425-650: The name by which it became known, Fauvism . In 1911, Vlaminck traveled to London and painted by the Thames . In 1913, he painted again with Derain in Marseille and Martigues . In World War I he was stationed in Paris, and began writing poetry. Eventually he settled in Rueil-la-Gadelière, a small village south-west of Paris. He married his second wife, Berthe Combes, with whom he had two daughters. From 1925 he traveled throughout France, but continued to paint primarily along
450-427: 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
475-539: 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
500-494: 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
525-414: The work of Toulouse-Lautrec and his portrayals of prostitutes and solitary drinkers, but does not attempt to probe the sitter's psychology—a break with the century-old European tradition of individualized portraiture. According to art critic Souren Melikian , it is "the impersonal cartoon of a type." In his landscape paintings, his approach was similar. He ignored the details, with the landscape becoming
SECTION 20
#1732771899491550-660: Was a chance meeting on the train to Paris towards the end of his stint in the army. Vlaminck, then 23 and already active in anarchist circles in Paris, met an aspiring artist, André Derain , with whom he struck up a lifelong friendship. When Vlaminck completed his army service in 1900, the two rented a studio together, the Maison Levanneur, which now houses the Cneai, for a year before Derain left to do his own military service. In 1902 and 1903 he wrote several mildly pornographic novels illustrated by Derain. He painted during
575-420: 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
600-524: 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
625-461: Was represented by 7 works. Vlaminck Maurice de Vlaminck ( French: [vlamɛ̃k] ; 4 April 1876 - 11 October 1958) was a French painter. Along with André Derain and Henri Matisse , he is considered one of the principal figures in the Fauve movement, a group of modern artists who from 1904 to 1908 were united in their use of intense colour. Vlaminck was one of the Fauves at
#490509