Fauvism - wikipedia Fauvism Henri Matisse. Woman with a Hat, 1905. San Francisco Museum of Modern Art Fauvism is the style of les Fauves ( French for `` the wild beasts '' ), a 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 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. Contents 1 Artists and style 2 Origins 3 Salon d'Automne 1905 4 Salon des Indépendants 1906 5 Salon d'Automne 1906 6 Gallery 7 See also 8 Notes and references 9 Further reading 10 External links Artists and style 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, Jean Puy, Maurice de Vlaminck, Henri Manguin, Raoul Dufy, Othon Friesz, Georges Rouault, Jean Metzinger, Kees van Dongen and Georges Braque ( subsequently Picasso 's partner in Cubism ). 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. 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 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 Cubism. Origins André Derain, 1906, Charing Cross Bridge, London, National Gallery of Art, Washington, DC. 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 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 the artists discovered other catalysts for their development. In 1896, Matisse, then an unknown art student, visited the artist John Peter 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 could n'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 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. Henri Matisse, Luxe, Calme et Volupté, 1904, oil on canvas, 98 × 118.5 cm, Musée d'Orsay, Paris, France 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 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 the summer of 1904, whilst in Saint - Tropez with Paul Signac and Henri - Edmond Cross. Salon d'Automne 1905 Main article : Salon d'Automne Henri Rousseau, The Hungry Lion Throws Itself on the Antelope, 1905, oil on canvas, 200 cm × 301 cm, Beyeler Foundation, Basel 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 chez les fauves '' ( `` Donatello among the wild beasts '' ), contrasting their `` orgie of tones '' with a Renaissance - style sculpture that shared the room with them. 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. 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 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 the Salon des Indépendants in the spring of 1905. Salon des Indépendants 1906 Henri Matisse, Le bonheur de vivre, 1905 - 6, oil on canvas, 176.5 cm × 240.7 cm, Barnes Foundation, Philadelphia, PA 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 the flatness, bright colors, eclectic style and mixed technique of Le Bonheur de Vivre. The triangular composition 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. Salon d'Automne 1906 Robert Delaunay, 1906, L'homme à la tulipe ( Portrait de Jean Metzinger ), oil on canvas, 72.4 x 48.5 cm. Exhibited at the 1906 Salon d'Autome ( Paris ) along with a portrait of Delaunay by Jean Metzinger The third group exhibition of the Fauves transpired 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 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 styles, with golden yellows, incandescent blues, thick impasto and larger brushstrokes. At the same exhibition Paul Cézanne was represented by ten works. He would n't live long enough to see the end of the show. Cézanne died 22 October 1906 ( aged 67 ). 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 was represented by 7 works. Gallery Henri Matisse, Notre - Dame at the end of the Afternoon, 1902, Albright - Knox Art Gallery, Buffalo, New York André Derain, Self - portrait in the Studio, 1903, National Gallery of Australia, Canberra, Australia Robert Antoine Pinchon, 1904, Triel sur Seine, le pont du chemin de fer, 46 x 55 cm Henri Matisse, Les toits de Collioure, 1905, oil on canvas, The Hermitage, St. Petersburg, Russia Henri Matisse, Open Window, Collioure, 1905, National Gallery of Art, Washington, DC. André Derain, 1905, Le séchage des voiles ( The Drying Sails ), 1905, Pushkin Museum, Moscow Maurice de Vlaminck, 1905 -- 06, Barges on the Seine ( Bateaux sur la Seine ), oil on canvas, 81 x 100 cm, Pushkin Museum, Moscow Georges Braque, 1906, L'Olivier près de l'Estaque ( The Olive tree near l'Estaque ). At least four versions of this scene were painted by Braque, one of which was stolen from the Musée d'Art Moderne de la Ville de Paris during the month of May 2010. André Derain, La jetée à L'Estaque, 1906, oil on canvas, 38 x 46 cm Henri Matisse, Portrait of Madame Matisse ( The Green Stripe ), 1906, Statens Museum for Kunst, Copenhagen, Denmark Maurice de Vlaminck, The River Seine at Chatou, 1906, Metropolitan Museum of Art Kees van Dongen, Woman with Large Hat, 1906 Henri Matisse, 1906, Self - Portrait in a Striped T - shirt, Statens Museum for Kunst, Copenhagen, Denmark Henri Manguin, 1906, Baigneuse ( Woman Bather ), oil on canvas, Pushkin Museum, Moscow Henri Matisse, 1907, Blue Nude ( Souvenir de Biskra ), Baltimore Museum of Art Jean Metzinger, 1907, Paysage coloré aux oiseaux aquatiques, oil on canvas, 74 x 99 cm, Musée d'Art Moderne de la Ville de Paris Othon Friesz, 1907, Paysage à La Ciotat, oil on canvas, 59.9 x 72.9 cm See also Art history History of painting Neo-Fauvism Visual arts Western painting Notes and references ^ Jump up to : John Elderfield, The `` Wild Beasts '' Fauvism and Its Affinities, 1976, Museum of Modern Art, p. 13, ISBN 0 - 87070 - 638 - 1 Jump up ^ Freeman, Judi, et al., The Fauve Landscape, 1990, Abbeville Press, p. 13, ISBN 1 - 55859 - 025 - 0. ^ Jump up to : Tate ( 2007 ). Glossary : Fauvism. Retrieved on 2007 - 12 - 19, Tate Jump up ^ Freeman, 1990, p. 15. Jump up ^ 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, Brown courses Archived 2010 - 11 - 16 at the Wayback Machine. Jump up ^ Collins, Bradley, Van Gogh and Gauguin : Electric Arguments and Utopian Dreams, 2003, Westview Press, p. 159, ISBN 0 - 8133 - 4157 - 4. Jump up ^ Joshua I. Cohen, `` Fauve Masks : Rethinking Modern ' Primitivist ' Uses of African and Oceanic Art, 1905 - 8. '' The Art Bulletin 99, no. 2 ( June 2017 ) : 136 - 65. ^ Jump up to : Freeman, p. 243 ^ Jump up to : Dempsey, Amy ( 2002 ). Styles, Schools and Movements : An Encyclopedic Guide to Modern Art, pp. 66 - 69, London : Thames & Hudson Ltd. ^ Jump up to : `` Book talk : The Unknown Matisse... '', ABC Radio National, interview with Hilary Spurling, 8 June 2005. Retrieved 1 January 2008. Jump up ^ Matisse, Luxe, calme et volupté, 1904, Musée d'Orsay, Paris, France ^ Jump up to : Louis Vauxcelles, Le Salon d'Automne, Gil Blas, 17 October 1905. Screen 5 and 6. Gallica, Bibliothèque nationale de France, ISSN 1149 - 9397 ^ Jump up to : Chilver, Ian ( Ed. ). `` Fauvism '', The Oxford Dictionary of Art, Oxford University Press, 2004. Retrieved from enotes.com, 26 December 2007. Jump up ^ Smith, Roberta ( 2006 ). `` Henri Rousseau : In imaginary jungles, a terrible beauty lurks '' The New York Times, 14 July 2006. Accessed 29 December 2007 Jump up ^ Elderfield, p. 43 Jump up ^ 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 ^ Jump up to : Russell T. Clement, Les Fauves : A Sourcebook, Greenwood Publishing Group, 1994 ISBN 0 - 313 - 28333 - 8 Jump up ^ Les Demoiselles D'Avignon : Picasso 's influences in the creation of a masterwork, archived from the original on 2008 - 02 - 21, retrieved 2008 - 03 - 10 Jump up ^ Turner, Jane ( 1996 ), Grove Dictionary of Art, Macmillan Publishers, p. 372, ISBN 1 - 884446 - 00 - 0 Jump up ^ Daniel Robbins, Jean Metzinger : At the Center of Cubism, 1985, Jean Metzinger in Retrospect, The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press, pp. 9 - 23 Jump up ^ Société des artistes indépendants : catalogue de la 22ème exposition, 1906 ^ Jump up to : 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, 1906 Jump up ^ François Lespinasse, Robert Antoine Pinchon : 1886 -- 1943, 1990, repr. Rouen : Association Les Amis de l'École de Rouen, 2007, ISBN 9782906130036 ( in French ) Jump up ^ `` Interpol issues global alert for stolen art '', CNN Wire Staff, May 21, 2010 Further reading Gerdts, William H. ( 1997 ). The Color of Modernism : The American Fauves. New York : Hollis Taggart Galleries. Spivey, Virginia, Fauvism, Smarthistory at Khan Academy Whitfield, Sarah ( 1991 ). Fauvism. London : Thames and Hudson. ISBN 0 - 500 - 20227 - 3. External links Wikimedia Commons has media related to Fauvisme. Wikiquote has quotations related to : Fauvism Fauve Painting from the Permanent Collection at the National Gallery of Art Fauvism : The Wild Beasts of Early Twentieth Century Art Rewald, Sabine. Fauvism. In Timeline of Art History. New York : The Metropolitan Museum of Art ( 2004 ) Gelett Burgess, `` The Wild Men of Paris : Matisse, Picasso and Les Fauves '', 1910 Fauvism Leaders Henri Matisse André Derain Others Georges Braque Charles Camoin Kees van Dongen Raoul Dufy Othon Friesz Henri Manguin Albert Marquet Jean Metzinger Jean Puy Georges Rouault Louis Valtat Maurice de Vlaminck Paintings Luxe, Calme et Volupté Le bonheur de vivre The Open Window Landscape at Collioure Les toits de Collioure Blue Nude ( Souvenir de Biskra ) Green Stripe Paysage coloré aux oiseaux aquatique Woman with a Hat Influences Paul Cézanne Paul Gauguin Vincent van Gogh Gustave Moreau ( teacher ) Georges Seurat Paul Signac Neo-impressionism Pointillism Salon d'Automne 1905 exhibit Influenced Die Brücke Neo-Fauvism See also Louis Vauxcelles ( critic ) Post-Impressionism 19th - century movements Neo-impressionism Divisionism Pointillism Cloisonnism Les Nabis Synthetism Symbolism Art Nouveau Artists Cuno Amiet Charles Angrand Émile Bernard Edvard Munch Pierre Bonnard Marius Borgeaud Paul Cézanne Henri - Edmond Cross Maurice Denis Georges Dufrénoy Paul Gauguin Hippolyte Petitjean Paul Ranson Odilon Redon Henri Rousseau René Schützenberger Paul Sérusier Georges Seurat Paul Signac Henri de Toulouse - Lautrec Charles Laval Georges Lemmen Maximilien Luce Vincent van Gogh Théo van Rysselberghe Félix Vallotton Édouard Vuillard 20th - century movements Fauvism Die Brücke Der Blaue Reiter Expressionism Cubism Artists Georges Braque Charles Camoin André Derain Raoul Dufy Henri Matisse Albert Gleizes Ernst Ludwig Kirchner Karl Schmidt - Rottluff Wassily Kandinsky Sonia Lewitska Franz Marc Jean Metzinger Henry Ottmann Francis Picabia Pablo Picasso Robert Antoine Pinchon Henriette Tirman Jean Marchand Othon Friesz Exhibitions Artistes Indépendants Les XX Volpini Exhibition Le Barc de Boutteville La Libre Esthétique Ambroise Vollard Salon d'Automne Salon des Indépendants Salon des Cent Salon des Tuileries Critics Félix Fénéon Albert Aurier Related Impressionism Modernism Modern art Secessionism Avant - garde movements Visual art Abstract expressionism Art Nouveau Art & Language Conceptual art Constructivism Cubism Proto - Cubism Cubo - Futurism De Stijl Devětsil Divisionism Fauvism Impressionism Neo-Impressionism Post-Impressionism Color Field Incoherents Lyrical Abstraction Mail art Minimalism Mir iskusstva Neue Slowenische Kunst Nonconformism Pop art Rayonism Suprematism Vorticism Nouveau réalisme Literature and poetry Acmeism Angry Penguins Asemic writing Cyberpunk Ego - Futurism Experimental literature Flarf poetry Hungry generation Imaginism Language poets Neoteric Nouveau roman Oberiu Oulipo Ultraísmo Visual poetry Zaum Music By style Jazz Metal Pop Rock Prog Punk Others Aleatoric music Ars subtilior Atonal music Drone music Electroacoustic music Electronic music Experimental pop Free jazz Futurism ( music ) Industrial music Microtonal music Minimal music Musique concrète New Complexity No wave Noise music Post-rock Rock in Opposition Second Viennese School Serialism Spectral music Stochastic music Textural music Totalism Twelve - tone technique Cinema and theatre Cinéma pur Dogme 95 Drop Art Epic theatre Remodernist film Structural film Theatre of the Absurd Theatre of Cruelty General Bauhaus Constructivism Dada Expressionism Fluxus Futurism Lettrism Modernism Minimalism Postminimalism Neo-minimalism Neo-Dada Neoism Postmodernism Late modernism Primitivism Russian Futurism Russian symbolism Situationist International Social realism Socialist realism Surrealism Symbolism Book Modernism Milestones Le Déjeuner sur l'herbe ( 1862 - 63 ) Olympia ( 1863 ) A Sunday Afternoon on the Island of La Grande Jatte ( 1886 ) Mont Sainte - Victoir ( 1887 ) The Starry Night ( 1889 ) Ubu Roi ( 1896 ) Verklärte Nacht ( 1899 ) Le bonheur de vivre ( 1905 - 1906 ) Les Demoiselles d'Avignon ( 1907 ) The Dance ( 1909 - 10 ) The Firebird ( 1910 ) Afternoon of a Faun ( 1912 ) Nude Descending a Staircase, No. 2 ( 1912 ) The Rite of Spring ( 1913 ) In Search of Lost Time ( 1913 -- 1927 ) The Metamorphosis ( 1915 ) Black Square ( 1915 ) Fountain ( 1917 ) The Cabinet of Dr. Caligari ( 1920 ) Six Characters in Search of an Author ( 1921 ) Ulysses ( 1922 ) The Waste Land ( 1922 ) The Magic Mountain ( 1924 ) Battleship Potemkin ( 1925 ) The Sun Also Rises ( 1926 ) The Threepenny Opera ( 1928 ) The Sound and the Fury ( 1929 ) Un Chien Andalou ( 1929 ) Villa Savoye ( 1931 ) The Blue Lotus ( 1936 ) Fallingwater ( 1936 ) Waiting for Godot ( 1953 ) Literature Guillaume Apollinaire Djuna Barnes Tadeusz Borowski André Breton Mikhail Bulgakov Anton Chekhov Joseph Conrad Alfred Döblin E.M. 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garde Henri Matisse Works Woman Reading ( 1894 ) Le Mur Rose ( Landscape, the Pink Wall ) ( 1898 ) Notre - Dame, une fin d'après - midi ( A Glimpse of Notre - Dame in the Late Afternoon ) ( 1902 ) Luxe, Calme et Volupté ( Luxury, Calm and Pleasure ) ( 1904 ) La Raie Verte ( The Green Line ) ( 1905 ) The Open Window ( 1905 ) Woman with a Hat ( 1905 ) Les toits de Collioure ( 1905 ) Landscape at Collioure ( 1905 ) Le bonheur de vivre ( 1906 ) The Young Sailor II ( 1906 ) Self - Portrait in a Striped T - shirt ( 1906 ) Madras Rouge ( 1907 ) Blue Nude ( Souvenir de Biskra ) ( 1907 ) The Dessert : Harmony in Red ( The Red Room ) ( 1908 ) Game of Bowls ( 1908 ) Bathers with a Turtle ( 1908 ) Portrait of Greta Moll ( 1908 ) Dance ( 1910 ) Music ( 1910 ) Still Life with Geraniums ( 1910 ) L'Atelier Rouge ( 1911 ) The Conversation ( 1908 -- 1912 ) Zorah on the Terrace ( 1912 ) Window at Tangier ( 1912 ) Le Rifain assis ( 1912 ) View of Notre - Dame ( 1914 ) Woman on a High Stool ( 1914 ) Le rideau jaune ( The Yellow Curtain ) ( 1915 ) The Window ( 1916 ) The Painter and His Model ( 1917 ) The Music Lesson ( 1917 ) Piano Lesson ( 1918 ) Interior A Nice ( 1920 ) Odalisque with Raised Arms ( 1923 ) Yellow Odalisque ( 1926 ) The Back Series ( 1909 - 1930 ) The Dance II ( mural ) ( 1932 ) Robe violette et Anémones ( 1937 ) Woman in a Purple Coat ( 1937 ) La Blouse Roumaine ( 1940 ) Annelies, White Tulips and Anemones ( 1944 ) L'Asie ( 1946 ) Young Woman in White on a Red Background ( 1946 ) Le Lanceur De Couteaux ( 1947 ) Deux fillettes, fond jaune et rouge ( 1947 ) The Plum Blossoms ( 1948 ) Beasts of the Sea ( 1950 ) Facial - maschera ( red ) ( 1951 ) The Sorrows of the King ( 1952 ) Black Leaf on Green Background ( 1952 ) La Négresse ( 1952 ) Blue Nude II ( 1952 ) The Snail ( 1953 ) Le Bateau ( 1953 ) Chapelle du Rosaire de Vence ( Chapel of the Rosary ) Jazz ( book ) People Pierre Matisse ( son ) Paul Matisse ( grandson ) Sophie Matisse ( great - granddaughter ) Lydia Delectorskaya Museums Matisse Museum ( Le Cateau ) Musée Matisse ( Nice ) Related Fauvism An Essay on Matisse GND : 4153799 - 3 Retrieved from `` https://en.wikipedia.org/w/index.php?title=Fauvism&oldid=856124860 '' Categories : Fauvism Art movements French art Western art Hidden categories : Webarchive template wayback links Articles with French - 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Question: the fauves were a group of french artists associated with which art movement
Answer: Fauvism