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Fauvism

1900 - 1910

Modernism

Fauvism

Fauvist artwork is instantly recognizable. Bold, bright, unnatural colors block out the subject in big fatty brushstrokes. It’s so colorful it’s hard to look at. It’s unapologetic and childlike. The phrase avant-garde has been overused, but here’s what it’s supposed to mean: something so fiercely, intensely new it makes you uncomfortable. The Fauves, a name meaning ‘wild beasts’ in French, were the first avant-garde movement of the Modern Era. They scared people.

But what does it take to create an Avant-garde movement? For artists to develop revolutionary work, they need three things: encouragement, inspiration, and outrage.

So we begin in 1890 with five young artists: Henri Matisse, Henri Manguin, Albert Marquet, Charles Camoin, and Georges Rouault. The young men were in their early 20’s and they were lucky, because they were studying at the famous French art school École des Beaux-Arts, and their professor was the noted eccentric Gustave Moreau. Moreau was profoundly individualistic, and pushed his students to paint from the deepest part of themselves. Matisse later said of Moreau, "He did not set us on the right roads, but off the roads. He disturbed our complacency."

Next, inspiration. In 1896, Matisse spent ten days with the impressionist John Peter Russell and was so shaken by the Australian artist’s use of bright color, he left saying he "couldn’t stand it any more". But bold color had gotten under Matisse’s skin, and he brought the experience back to his friends at the Beaux-Arts, where they began to experiment with what they called ‘color structure’ — flat areas of bold color used to create mood.

At the same time, west of Paris in a small studio, the two friends André Derain and Maurice de Vlaminck were goofing around in a rented studio, writing pornographic novels and painting. It was a relaxed affair until 1901, when Vlaminck saw an exhibition of Vincent Van Gogh’s vivid post-impressionist artwork (it’s been suggested that Van Gogh was color blind, and that his own use of color would’ve shocked him). Vlaminck was electrified, and he and Derain got serious about painting, aggressively applying color straight from the tube.

The new movement was ready to explode. In 1905, Matisse visited Vlaminck and Derain’s studio and found kindred spirits. He invited the pair to join him and his tight-knit group of color-fiends in a veritable take-over of the Salon d'Automne, a world-famous art exhibition at the Grand Palais in Paris. The artists brought their boldest work, and splashed into the public scene.

And now for the outrage.

Matisse was in the Salon, in the room where his paintings and his friends paintings were ringed around a renaissance statue, when the noted art critic and grouchy old man Louis Vauxcelles approached him. “Un Donatello parmi les fauves!” A Donatello among the wild beasts! Vauxcelles exclaims in horror at the shocking new style. Of course Matisse was so delighted by the phrase that he adopts it, and the group, now officially set in the counter-culture, is known as ‘the wild beasts’ — Le Fauves.

As it turns out Favism was a transitional style for most of the artists that showed their work in the infamous 1905 Salon. Matisse of course, exploded in popularity and explored an enormous variety of styles and mediums, Andre Derain wound up returning to classicism and adopting a moody gothic style, and Vlaminck’s heavy outlines and dark colors influenced the development of Expressionism in Germany. But for a brief moment, a few inspired artists had given the art world a good hard shake, and created a scary, fun, truly avant-garde movement.

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Bougival

Bougival

André Derain,1904
The Woman with a Hat

The Woman with a Hat

Henri Matisse,1905
Madame Matisse in a Kimono

Madame Matisse in a Kimono

André Derain,1905
Port

Port

André Derain,1905
Self Portrait in a Striped T-shirt

Self Portrait in a Striped T-shirt

Henri Matisse,1906
Promenade among the Olive Trees

Promenade among the Olive Trees

Henri Matisse,1905-1906
The Young Sailor

The Young Sailor

Henri Matisse,1906
Woman in a Chemise

Woman in a Chemise

André Derain,1906
Two Barges

Two Barges

André Derain,1906
Charing Cross Bridge, London

Charing Cross Bridge, London

André Derain,1906
Road in the Mountains

Road in the Mountains

André Derain,1907
Molen Mill in Sunlight

Molen Mill in Sunlight

Piet Mondrian,1908
The Dessert: Harmony in Red

The Dessert: Harmony in Red

Henri Matisse,1908

Expression, for me, does not reside in passions glowing in a human face or manifested by violent movement. The entire arrangement of my picture is expressive.

Notes of a Painter

Henri Matisse,1908
Dune 1

Dune 1

Piet Mondrian,1909
Dune 2

Dune 2

Piet Mondrian,1909
Dune 3

Dune 3

Piet Mondrian,1909
Two Nudes

Two Nudes

Marcel Duchamp,1910
Isaac With A Pipe

Isaac With A Pipe

Sigrid Hjertén,1911
Landscape

Landscape

Marcel Duchamp,1911
War Canoes, Alert Bay

War Canoes, Alert Bay

Emily Carr,1912
War Canoe, Alert Bay

War Canoe, Alert Bay

Emily Carr,1912
The Blue Ship

The Blue Ship

Sigrid Hjertén,1912
The Forest

The Forest

Natalia Goncharova,1913
The red fence, Gränna

The red fence, Gränna

Sigrid Hjertén,1913
Apples on a Table - Green Background

Apples on a Table - Green Background

Henri Matisse,1916
At the square in Cassis, 14th July

At the square in Cassis, 14th July

Sigrid Hjertén,1932
Happiness

Happiness

Emily Carr,1939
Interior with Black Fern

Interior with Black Fern

Henri Matisse,1948