Fauvism
- Created by: epearce1998
- Created on: 30-05-17 11:44
View mindmap
- Fauvism
- Intro Points
- Application of colour celebrated- flat impasto highlighting colour and pigment, non-naturalistic
- "As a Fauve, I want to return to the purity of means" -Matisse
- "Colour must be thought, dreamt and imagined" -Moreau (symbolist painter and Matisse's teacher)
- 'Wild Beast' coined by Louis Vauxcelles at 1903 Salon D'Autome
- Influence of posters, Japanese prints, texiles
- African art and Post-Impressionism (Van Gogh and Gauguin)
- Influence of Nietzsche- anti-establishment
- Application of colour celebrated- flat impasto highlighting colour and pigment, non-naturalistic
- Matisse 'Open Window at Collioure' (1905)
- Description
- Window with open shutters, flowers and vines on sill, boats on harbour
- Mediterranean sunlight creating intense bright colours
- Colours broken into most economical features, just brushstrokes
- Leaves gaps between paint to emphasis brushstrokes- shows canvas and artificiality
- Unblended, non-naturalistic
- Colours broken into most economical features, just brushstrokes
- Linear composition with vertical emphasis
- Spatial recession suggested through scale, but flattened forms
- "When I put a green, it is not the grass; when I put a blue it is not the sky"
- Context
- Matisse spent summer 1905 in Collioure, view of fishing port
- Open window a view into imagination
- Symbol of freedom and escapism
- Renaissance idea of illusionist window into another world
- Modernist statement for new type of art - paintings with increased autonomy from things they depict
- "Even the shadows at Collioure were a whole world of clarity and luminosity" -Derain
- Description
- Matisse 'Woman with the Hat' (1905)
- Description
- Non-naturalistic use of colour
- Impasto brushwork directly from tubes
- Figure separated from background due to impasto
- Traditionally positioned portrait
- Hat as a fashion statement, reflects confidence, dressed as bourgeoisie
- Brushwork staccato and vigourous
- Bold outline of face
- Face applied over surface to contrast background
- Bold outline of face
- Context
- In Salon de Autumne- painting Vauxcelles called a 'Wild Beast'
- Replacement for unfinished divisionist piece
- Of wife, Amelie, shocked viewer, equal relationship, powerful stance
- She tried to hold out for full price of 500 francs when Steins offered 300
- Influence of Nietzsche's promotion of expressive approach
- Gauguin's promotion of purity of means - but more acceptable in his exotic subject matter
- Called graffiti, childlike, barbaric, affront to femininity
- Judged on the value of a portrait
- Description
- Matisse 'Joie de Vivre' (1905-6)
- Description
- Nude people in forest landscape of colour
- Dynamic use of colour
- Cloissionism
- Mythological landscape so setting more acceptable
- Use of expressionism- not realistic
- Art Nouveau influence in sinuous lines
- Rejection of traditional scale
- Juxtaposition of objects
- Reclining female nude in centre- dynamic Venus
- Nude people in forest landscape of colour
- Context
- Revisualises Impressionist leisure as pagan ideal- classical arcadia
- Rework of earlier 'Luxe, Calme et Volupte' (104-5)
- Influence of Baudelaire: 'in everything there is order and beauty, luxuriance, calm and voluptuousness
- Influence of African art- primitive, travelled there 1906 and 1911
- Felt it had more energy and truth- stylised forms, vivid colours, exaggerated sexual features
- Reminiscent of Bellini's 'Feast of the Gods' and Titian
- Classical and theme of leisure- more conservative themes, removes rebellion
- Influence of Gide's 'Les Norritures Terrestres' promoting spontaneous approach to life/ sexuality
- Nautrist connotations- embracing nature
- Debate on value of decoration- Greensburg said it drew attention to Modernist aspects e.g. form, colour
- Description
- Derain 'The Palace of Westminster' (1906-7)
- Context
- Derain came to London 1906- encouraged by dealer Vollard to follow success of Monet
- 'Adored Monet' but wanted to compete- choses same sites as him
- Takes away Monet's misty atmosphere, muted light, intricate brushwork
- T. G. Rosenthal: 'Not since Monet ha anyone made London seem so fresh and yet remain so quintessentially English
- Takes away Monet's misty atmosphere, muted light, intricate brushwork
- 'Adored Monet' but wanted to compete- choses same sites as him
- 19th c. London- huge population growth from 1 million 1800 to 6 million 1900
- Growth of industry and railway
- British Museum ethnographic collections- inspired to collect African art
- 1906: 'I hate the English spirit, sad, hypocritical and mocking. Everything here is dead.'
- Later said he had 'many delighted hours' and that London was a 'dazzling spectacle'
- Derain came to London 1906- encouraged by dealer Vollard to follow success of Monet
- Description
- Large scale, impasto, elements of naturalism
- Unrestrained use of colour (deliberate disharmonies), exuberant brushwork
- 3 barges on the choppy Thames, tugboat guides 2 of them
- Defined by black strokes, contrasting yellow, blue and peach of the river
- River calmer beyond boars- softer pinks and greens
- Defined by black strokes, contrasting yellow, blue and peach of the river
- Opposite bank of Westminster- purple haze, turrets silhouetted against green, blue, purple of sky
- Rapid, separated brushstrokes with large brush
- Lack of narrative, just about aesthetics
- Context
- Intro Points
Comments
No comments have yet been made