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Henri Matisse, Portrait of Madame Matisse (The Green Stripe), 1906, Statens Museum for Kunst, Copenhagen, Denmark

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][2] The leaders of the movement were Henri Matisse and André Derain.[1]

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, 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.[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]

Fauvism can also be seen as a mode of Expressionism.[3]


Gustave Moreau was the movement's inspirational teacher;[7] 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 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 x 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

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 The Hungry Lion Throws Itself on the Antelope was exhibited near Matisse's work and may have had an influence on the pejorative used.[13] Vauxcelles' comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and passed into popular usage.[12][14] 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.[12] 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.[12] Matisse's Neo-Impressionist landscape, Luxe, Calme et Volupté, had already been exhibited at the Salon des Indépendants in the spring of 1905.[15]


See also[edit]

Notes and references[edit]

  1. ^ a b c John Elderfield, The "Wild Beasts" Fauvism and Its Affinities, 1976, Museum of Modern Art, p.13, ISBN 0-87070-638-1
  2. ^ Freeman, Judi, et al., The Fauve Landscape, 1990, Abbeville Press, p. 13, ISBN 1-55859-025-0.
  3. ^ a b c Tate (2007). Glossary: Fauvism. Retrieved on 2007-12-19 from http://www.tate.org.uk/learn/online-resources/glossary/f/fauvism.
  4. ^ Freeman, 1990, p. 15.
  5. ^ 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.
  6. ^ Collins, Bradley, Van Gogh and Gauguin: Electric Arguments and Utopian Dreams, 2003, Westview Press, p. 159, ISBN 0-8133-4157-4.
  7. ^ Freeman, p. 243
  8. ^ Freeman, p. 243.
  9. ^ 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.
  10. ^ a b c d "Book talk: The Unknown Matisse...", ABC Radio National, interview with Hilary Spurling, 8 June 2005. Retrieved 1 January 2008.
  11. ^ Matisse, Luxe, calme et volupté, 1904, Musée d'Orsay, Paris, France
  12. ^ a b c d Chilver, Ian (Ed.). "Fauvism", The Oxford Dictionary of Art, Oxford University Press, 2004. Retrieved from enotes.com, 26 December 2007.
  13. ^ Smith, Roberta (2006). "Henri Rousseau: In imaginary jungles, a terrible beauty lurks" The New York Times, 14 July 2006. Accessed 29 December 2007
  14. ^ Elderfield,p.43
  15. ^ 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]

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27 news items


Wed, 27 Aug 2014 20:00:00 -0700

All around, other varieties of modernist art were being developed: the startlingly coloured fauvism of Derain and Vlaminck, Modigliani's individual stylisation of the figure, and Henri Matisse's first great works. Roe weaves all this together, and more ...
West End Word
Tue, 26 Aug 2014 23:22:30 -0700

There are posters, drawings, photographs, lithographs, oils, acrylics and sculptures. Styles vary from realism to op-art, fauvism to abstraction, air-brushed super-realism to acrylic-painted minimalism. In one room, Leon Bronstein's bronzes ...
Catholic Herald Online (blog)
Tue, 26 Aug 2014 08:00:00 -0700

Like many artists of his generation, he cast himself as an iconoclastic atheist, and initially embraced the “uncivilised” savagery of Fauvism as a means of rejecting the “bourgeois religion” by which he was surrounded. But 1941, at the age of 72 ...

artnet News

artnet News
Fri, 15 Aug 2014 05:15:46 -0700

Making the transition to a more traditional gallery setting, Neate began to combine street materials with the angularity of cubism and the color language of fauvism to produce a unique style he calls Dimensional Painting. He has a solo exhibition at ...
Thu, 21 Aug 2014 14:26:43 -0700

“We also reference them in the classroom when discussing topics like Fauvism or Cubism,” Rivard said. “The murals are landscapes, still life, portraiture, animals, and fantasy - much like the subjects we cover in various art classes.” Rivard is “very ...

New York Times

New York Times
Thu, 14 Aug 2014 14:34:55 -0700

... the work of more advanced artists revolving around the photographer and art dealer Alfred Stieglitz, and then the 1913 Armory Show, which introduced a panoply of modernisms — Post-Impressionism, Fauvism, Cubism, Duchamp — to the American public.

The Guardian

The Guardian
Sun, 17 Aug 2014 05:35:17 -0700

The chromatic vibrancy of their canvases earned the members of Roe's group the derogatory nickname of "fauves", meaning wild beasts, and their fauvism was a matter of temperament as well as a pictorial style. Vlaminck called himself "a tender barbarian ...

The New York Review of Books (blog)

The New York Review of Books (blog)
Tue, 05 Aug 2014 07:15:00 -0700

What matters more is that this exhibition offers us the chance to see both Malevich's early work—in styles that include Fauvism, what he called Cubo-Futurism, and the Dada-like style he called Alogism—and the figurative paintings of his later years ...

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