Fauvism | DMA Staging Content Management System

GENERAL DESCRIPTION

In 1905, a group of artists led by Henri Matisse and including André Derain, Maurice de Vlaminck, Albert Marquet, Georges Rouault, and Kees van Dongen exhibited in Paris at the Salon d'Automne. A critic quickly labeled them the "Fauves" (Wild Beasts). Their paintings were stylistically linked by the pure colors of the neo-impressionist movement as well as an agressive brushstroke and subjective, nonrealistic palette. They sought to rejuvenate painting and to distinguish themselves from the legacy of Impressionism and Post-Impressionism, by regarding nature not as the subject of their art but as a vehicle for the release of their imagination.

Adapted from

Shirley Reece-Hughes, "Bougival," Dallas Museum of Art: A Guide to the Collection, ed. Suzanne Kotz (Dallas, TX: Dallas Museum of Art, 1997), 119.

NOTES

Cover of the DMCA 1959 exhibition catalogue, Les Fauves. The following rule would connect this CC to that exhibition-

Apply to exhibitions where id equals 10949

Do not write rule to exhibitions- as of December 2, 2016 based on Shyam's advice (in D3C meeting 9/29/2016) that exhibitions cannot be targets for rules until the various exhibition IDs are cleaned up (TMS, Piction, Archives, Brain- all assigned IDs).

Fauvism description from DMAConnect on Bougival-

Together, Vlaminck and Derain created a new style of painting in which color was freed from the task of realistic description. This approach became known as Fauvism, which derives from the French term “les fauves,” meaning “wild beasts,” and references the aggressive brushwork and use of saturated, nonrealistic color by the artists.

Fauvism is an early twentieth-century avant-garde movement that emphasized a subjective response to nature. Fauves rejected traditional methods of landscape painting that came before them, including the Impressionists. Their work is characterized by bold, saturated colors often taken directly from the tube and expressive, painterly brushstrokes.

Henri Matisse and André Derain are considered the founders of Fauvism because of their work together in the Mediterranean port-town of Collioure during the summer of 1905. The two presented a joint exhibition of the work they completed that summer at the Salon d’Automne in Paris. It was at the Salon that critic Louis Vauxcelles referred to them as “fauves” or “wild beasts” due to their radically non-traditional style. The artists later embraced the term fully. Other artists in addition to Maurice de Vlaminck associated with Fauvism include Charles Camoin,Kees van Dongen, Henri-Charles Manjuin, Jean Puy, and Georges Rouault.

From education file- style essays

Fauvism

Georges Braque, Andre Derain, Raoul Dufy, Othon Friesz, Henri Manguin, Albert

Marquet, Henri Matisse, Jean Puy, Maurice de Vlaminck

Active in France, 1903 to 1908

The Fauves were named by the art critic Louis Vauxcelles in his review of the 1905 Salon d' Automne for the Parisian journal Gil Bias. "Donatelo au milieu des fauves!" (Donatello among the wild beasts!), he quipped about a gallery displaying a

Renaissance-inspired sculpture surrounded by the brilliantly colored canvases of Andre Derain, Henri Matisse, and Maurice Vlaminck. The Fauves were a loose-knit group of friends rather than a cohesive, Manifesto-writing association, and by 1908 their artistic paths had largely diverged.

Fauvist paintings are chiefly known for their violent contrasting nondescriptive color. Matisse, for example, depicted his wife with a green stripe down her face. The- Fauves combined Expressionism's high-key color and emotional force with Impressionism's devotions to images of contemporary life. Although their portrait, still-life, and landscape subjects were staples of nineteenth-century painting, they rejected symbolism's literary content and fin-de-siecle melancholy in favor of a radical return to the fundamentals of painting--the organization of color and fonn on a two dimensional surface. Slashing brushstrokes and thickly outlined patches of unmodulated color created an effect of expressive power that became a crucial element in the abstract work of the school of Paris, and, especially, in German Expressionism.

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WEB RESOURCES

MOMA Learning~Learn more about Fauvism from the Museum of Modern Art, New York.
Khan Academy~Read Dr. Virginia B. Spivey's Khan Academy essay "A beginner's guide to Fauvism."

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FUN FACTS

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General Description

In 1905, a group of artists led by Henri Matisse and including André Derain, Maurice de Vlaminck, Albert Marquet, Georges Rouault, and Kees van Dongen exhibited in Paris at the Salon d'Automne. A critic quickly labeled them the "Fauves" (Wild Beasts). Their paintings were stylistically linked by the pure colors of the neo-impressionist movement as well as an agressive brushstroke and subjective, nonrealistic palette. They sought to rejuvenate painting and to distinguish themselves from the legacy of Impressionism and Post-Impressionism, by regarding nature not as the subject of their art but as a vehicle for the release of their imagination.

Adapted from

Shirley Reece-Hughes, "Bougival," Dallas Museum of Art: A Guide to the Collection, ed. Suzanne Kotz (Dallas, TX: Dallas Museum of Art, 1997), 119.

Fun Facts

Archival Resources

Web Resources

MOMA Learning~Learn more about Fauvism from the Museum of Modern Art, New York.
Khan Academy~Read Dr. Virginia B. Spivey's Khan Academy essay "A beginner's guide to Fauvism."

Notes

Cover of the DMCA 1959 exhibition catalogue, Les Fauves. The following rule would connect this CC to that exhibition-

Apply to exhibitions where id equals 10949

Do not write rule to exhibitions- as of December 2, 2016 based on Shyam's advice (in D3C meeting 9/29/2016) that exhibitions cannot be targets for rules until the various exhibition IDs are cleaned up (TMS, Piction, Archives, Brain- all assigned IDs).

Fauvism description from DMAConnect on Bougival-

Together, Vlaminck and Derain created a new style of painting in which color was freed from the task of realistic description. This approach became known as Fauvism, which derives from the French term “les fauves,” meaning “wild beasts,” and references the aggressive brushwork and use of saturated, nonrealistic color by the artists.

Fauvism is an early twentieth-century avant-garde movement that emphasized a subjective response to nature. Fauves rejected traditional methods of landscape painting that came before them, including the Impressionists. Their work is characterized by bold, saturated colors often taken directly from the tube and expressive, painterly brushstrokes.

Henri Matisse and André Derain are considered the founders of Fauvism because of their work together in the Mediterranean port-town of Collioure during the summer of 1905. The two presented a joint exhibition of the work they completed that summer at the Salon d’Automne in Paris. It was at the Salon that critic Louis Vauxcelles referred to them as “fauves” or “wild beasts” due to their radically non-traditional style. The artists later embraced the term fully. Other artists in addition to Maurice de Vlaminck associated with Fauvism include Charles Camoin,Kees van Dongen, Henri-Charles Manjuin, Jean Puy, and Georges Rouault.

From education file- style essays

Fauvism

Georges Braque, Andre Derain, Raoul Dufy, Othon Friesz, Henri Manguin, Albert

Marquet, Henri Matisse, Jean Puy, Maurice de Vlaminck

Active in France, 1903 to 1908

The Fauves were named by the art critic Louis Vauxcelles in his review of the 1905 Salon d' Automne for the Parisian journal Gil Bias. "Donatelo au milieu des fauves!" (Donatello among the wild beasts!), he quipped about a gallery displaying a

Renaissance-inspired sculpture surrounded by the brilliantly colored canvases of Andre Derain, Henri Matisse, and Maurice Vlaminck. The Fauves were a loose-knit group of friends rather than a cohesive, Manifesto-writing association, and by 1908 their artistic paths had largely diverged.

Fauvist paintings are chiefly known for their violent contrasting nondescriptive color. Matisse, for example, depicted his wife with a green stripe down her face. The- Fauves combined Expressionism's high-key color and emotional force with Impressionism's devotions to images of contemporary life. Although their portrait, still-life, and landscape subjects were staples of nineteenth-century painting, they rejected symbolism's literary content and fin-de-siecle melancholy in favor of a radical return to the fundamentals of painting--the organization of color and fonn on a two dimensional surface. Slashing brushstrokes and thickly outlined patches of unmodulated color created an effect of expressive power that became a crucial element in the abstract work of the school of Paris, and, especially, in German Expressionism.