The Fauves (Art of Century Collection)
Born at the dawn of the 20th century, Fauvism burst in 1905 Salon d'Automne with a resounding scandal. It was like throwing colors at the face of the academic art entangled in its ancestral conventions. Then several artists, like Matisse, Derain or Vlaminck, searched for a new chromatic language by diverting the color from its signified. Freed from any connotation, applied in flat tints, the color, they claimed as their only standard, impregnated their stunning paintings. The author invites us to this ball of vivid and bold colors, and shows us how the violence of the Fauves left its mark on the path to modernity.
(ARS), New York / ADAGP, Paris © Louis Valtat, Artists Rights Society (ARS), New York / ADAGP, Paris © Georges Rouault, Artists Rights Society (ARS), New York / ADAGP, Paris © Kees van Dongen, Artists Rights Society (ARS), New York / ADAGP, Paris © Albert Marquet, Artists Rights Society (ARS), New York / ADAGP, Paris © Maurice de Vlaminck, Artists Rights Society (ARS), New York / ADAGP, Paris © Raoul Dufy, Artists Rights Society (ARS), New York / ADAGP, Paris © Jean Puy, Artists Rights Society.
Yellow and blue. Next to these lie red and dark blue strokes of the same elongated shape, which bring to mind the techniques used in Pointillism — the method Derain had devoted great attention to the colours when studying the works of Georges Seurat and Paul Signac. But even here the red does not burn with the intensity of Van Dongen, for in some miraculous way, the adjacent complementary colours preserve a certain restraint. The painting also has a very surprising background of rounded hills.
Manguin was brought up by his mother alone. At sixteen he decided to leave secondary school to devote himself entirely to painting. His success in this venture was due, not only to his mother’s wholehearted support, but, also, to the inheritance which his father had left him. That money allowed Manguin to concentrate fully on his art without the distraction of financial concerns. In 1894 Manguin entered Professor Gustave Moreau’s class in the École des Beaux-Arts; a step of great importance, for.
The Salon d’Automne featured in the pages of L’lllustration. Puy’s success was directly bound up with their collective emergence. After the 1905 Salon d’Automne, Ambroise Vollard drew up a contract under the terms of which he bought almost everything the artist produced each year. This explains why Puy did not exhibit his work much until the contract expired in 1921. Until the start of the First World War Puy spent each summer on the Brittany coast, dividing the rest of the year between his Paris.
Critics may have missed, but not the artists. United by common tastes and strivings, they, without being aware of it themselves, influenced each other, especially if we bear in mind that some of them had worked together previously. André Derain, Martigues (Harbour in Provence), 1913. Oil on canvas, 141 x 90 cm. State Hermitage Museum, Saint Petersburg. (p. 26) André Derain, Landscape with a Boat by the Bank, c. 1915. Oil on canvas, 100 x 65 cm. State Hermitage Museum, Saint Petersburg. (p. 27).