Fauvism lecture
- 2. A New Century • Experimentation in all areas • New art styles evolved rapidly • Continued pressure to be part of an artistic tradition Paris, 1900
- 3. The Wild Beasts • The Salon d’Automne in Paris (1905) • Term “fauves” (wild beasts) first used by art critic • Most wanted pleasant or subdued scenes for wall art • Found paint application unpleasant
- 4. A Movement (sort of) • Originally based on a series of friendships • Never used term “fauve” themselves • Differing styles • Connected by common techniques and concepts Reclining The Gypsy, Nude, 1906 1906 (Vlaminck) (Matisse)
- 5. Characteristics • Exaggerated, vibrant color • Use of contrasting colors to create volume and structure • Broad brushstrokes • Moderately thick paint application Boats at Collioure Harbor, 1905 (Derain)
- 6. Characteristics (cont.) • Simplified drawing • Solid planes of color • A source of light • Subject matter: - portrait - still life - landscape - cityscape Portrait of Madame Matisse/The Green Line, 1905 (Matisse)
- 7. The Idea Behind the Color • Color as the subject (independent of natural appearance) • Art as vehicle for artist’s emotions • Not just piece of art, a journey • Painting autonomous creation • All pictorial elements realized with color • Not represent perceptual world, take viewer beyond reality
- 8. Influences Artists: - Gustave Moreau - Van Gogh - Cézanne - Seurat Movements: - Impressionism - Post-Impressionism Different Cultures: - African Sculpture
- 9. Henri Matisse (1869-1954) • Studied law • Began painting at the age of twenty • Sculptor • Studied under Moreau • Focused on tradition (accepted styles) • Found moderate success Portrait of Matisse, 1905 (Derain)
- 10. La Desserte, 1896-97 (Matisse)
- 11. Matisse as a Fauve • The “chief fauve” • 1905: Matisse and Derain in Collioure • Preferred the female form (portraits and nudes) • Felt if he intensified the color, he must reduce amount of detail (shapes and form) The Open Window, Collioure, 1905 (Matisse)
- 12. Woman with a Hat, 1905 (Matisse)
- 13. Matisse’s Art After Fauvism • Created simplified forms against flat planes of color • Experimented briefly with Cubism • More interest in sculpture • Collage Blue Nude III, 1952 (Matisse)
- 14. André Derain (1880-1954) • Born in Chatou, a favorite haunt of the Impressionists • Parents didn’t approve of painting as profession (chose engineering) • Met Matisse in 1899; Vlaminck in 1900 • Served in the military • Soon after, began studying art Portrait of Derain, 1905 (Matisse)
- 15. Derain as a Fauvist • Despite enthusiasm for color, still influenced by a more ordered/traditional concept of painting • Fauvist style showcased in series of London paintings, commissioned in 1906 • Went to extremes of Collioure, 1905 (Derain) intensity and anti- naturalism
- 16. London Bridge, 1906 (Derain)
- 17. Derain’s Art After Fauvism • Experimented with cubism • By the 1920s, style was increasingly Neoclassical • Destroyed many fauvist pieces; rarely dated paintings and changed the ones he did • Theatrical design Le Nez de Cleopatre, 1922. Written by Georges Gabory. • Book illustrations
- 18. Maurice de Vlaminck (1876-1958) • Served in the military • Was a competitive cyclist, musician, actor, and novelist • Self-taught artist • Liked to boast about his contempt for museums • Met Derain in 1900 (introduced to Matisse) Portrait of Vlaminck, 1905 (Derain)
- 19. Vlaminck as a Fauvist • Impulsive style • Short, choppy brushstrokes • Like other Fauves, not all use of color was “pure” (example: The Red Trees) • Experimented with pointillism Portrait of Derain, 1906 (Vlaminck)
- 20. The Red Trees, 1908 (Vlaminck)
- 21. Vlaminck’s Art After Fauvism • Influenced by showing of Cezanne’s work • Introduced darker shades into overall tone • Moved to the country to paint landscapes • Eventually moved away from Cezanne’s influence, to more Classical construction Self-Portrait, 1910 (Vlaminck)
- 22. Fauvism Draws to a Close • Lost momentum by 1908 • Environment of experimentation also meant styles quickly developed, then were often quickly modified or abandoned • Nearly all of the Fauves branched out from Fauvism Paysage a Cassis, 1907 (Derain)
- 23. Fauvism’s Influence • Made impression on artists, from many different countries, that were drawn to Paris during period of development • Liberated use of color for future movements • Freed painting from serving symbolic or narrative ends • Extended boundaries of representation • Techniques adopted and developed by German Expressionists