FAUVISM Revision
The “Fauves” <ul><li>The group is not homogeneous and lacks of a defined programme, </li></ul><ul><li>They share   </li></...
Phylosophy  <ul><li>T hey conceived the art as a vital impulse </li></ul><ul><li>T hey started depicting some subjects in ...
Technique <ul><li>Their main objective is the pursue of colour with a plastic-constructive aim, as a structural element of...
Characteristics <ul><li>The group appeared in France between 1903 and 1907.  </li></ul><ul><li>Their style is vigorous, fa...
Characteristics <ul><ul><li>they look for the essential and simple;  </li></ul></ul><ul><ul><li>among the subjects there a...
Characteristics <ul><ul><li>they represent reality in a subjective way;  </li></ul></ul><ul><ul><li>they emphasize the col...
Characteristics <ul><ul><li>suppression of the definition of forms based on the chiaroscuro; </li></ul></ul><ul><ul><li>re...
Influences <ul><li>Their influences come from different movements:  </li></ul><ul><ul><li>From the impressionist : </li></...
Influences <ul><ul><li>From the Post-impressionism they took : </li></ul></ul><ul><ul><ul><li>the division in zones,  </li...
Influences <ul><ul><li>From the German Expressionism they assumed : </li></ul></ul><ul><ul><ul><li>the pure and vigorous c...
Influences <ul><ul><li>From exotic cultures they took : </li></ul></ul><ul><ul><ul><li>the richness of colour  </li></ul><...
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Fauvism

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Fauvism

  1. 1. FAUVISM Revision
  2. 2. The “Fauves” <ul><li>The group is not homogeneous and lacks of a defined programme, </li></ul><ul><li>They share </li></ul><ul><ul><li>their opposition to the Art Nouveau decoration and </li></ul></ul><ul><ul><li>opposition to the formal consistence of the Symbolism. </li></ul></ul><ul><li>Members of this group are : </li></ul><ul><ul><li>Matisse, </li></ul></ul><ul><ul><li>Marquet, </li></ul></ul><ul><ul><li>Dufy, </li></ul></ul><ul><ul><li>Derain, </li></ul></ul><ul><ul><li>Braque, and </li></ul></ul><ul><ul><li>Vlaminck. </li></ul></ul>
  3. 3. Phylosophy <ul><li>T hey conceived the art as a vital impulse </li></ul><ul><li>T hey started depicting some subjects in a critic way. </li></ul><ul><li>Far from Cezanne’s synthesis there was just one possibility: to solve the dualism between : </li></ul><ul><ul><li>the feeling –the colour – </li></ul></ul><ul><ul><li>and the construction –the plastic form, the volume, the space –putting special strength on the colour </li></ul></ul>
  4. 4. Technique <ul><li>Their main objective is the pursue of colour with a plastic-constructive aim, as a structural element of the vision. </li></ul><ul><li>Some of them dissolved the image, following Van Gogh or Signac </li></ul><ul><li>They tend to make evident </li></ul><ul><ul><li>the additive process, </li></ul></ul><ul><ul><li>the structure of the image and </li></ul></ul><ul><ul><li>they use spare brushstrokes, evident, distributed with a certain order and rhythm that give sense to the mater, the colour and the material construction of the image </li></ul></ul>
  5. 5. Characteristics <ul><li>The group appeared in France between 1903 and 1907. </li></ul><ul><li>Their style is vigorous, far from any academic principal. </li></ul><ul><li>Their characteristics are: </li></ul><ul><ul><li>lyric and expressive character expressed through the colour; </li></ul></ul><ul><ul><li>attempt to conciliate real and interior world; </li></ul></ul>
  6. 6. Characteristics <ul><ul><li>they look for the essential and simple; </li></ul></ul><ul><ul><li>among the subjects there are : </li></ul></ul><ul><ul><ul><li>landscapes, f </li></ul></ul></ul><ul><ul><ul><li>luvial scenes and </li></ul></ul></ul><ul><ul><ul><li>lyric scenes with an important weight of imagination; </li></ul></ul></ul>
  7. 7. Characteristics <ul><ul><li>they represent reality in a subjective way; </li></ul></ul><ul><ul><li>they emphasize the colour with pure colours, saturated, mainly flat, underlined by the line of the contours and without any reference to the subject or the image; </li></ul></ul><ul><ul><li>formal synthesis; </li></ul></ul><ul><ul><li>elimination of spatial perspective; </li></ul></ul>
  8. 8. Characteristics <ul><ul><li>suppression of the definition of forms based on the chiaroscuro; </li></ul></ul><ul><ul><li>references to exotic and primitive cultures; </li></ul></ul><ul><ul><li>they created pictorial spaces based on decorative motives taken from wall papers or crafts’ pieces </li></ul></ul>
  9. 9. Influences <ul><li>Their influences come from different movements: </li></ul><ul><ul><li>From the impressionist : </li></ul></ul><ul><ul><ul><li>theory of colour, </li></ul></ul></ul><ul><ul><ul><li>chromatic joy, </li></ul></ul></ul><ul><ul><ul><li>daily life subjects, </li></ul></ul></ul><ul><ul><ul><li>landscapes, </li></ul></ul></ul><ul><ul><ul><li>interiors, </li></ul></ul></ul><ul><ul><ul><li>portraits </li></ul></ul></ul><ul><ul><ul><li>and still-lives. </li></ul></ul></ul>
  10. 10. Influences <ul><ul><li>From the Post-impressionism they took : </li></ul></ul><ul><ul><ul><li>the division in zones, </li></ul></ul></ul><ul><ul><ul><li>the plenitude of colour, </li></ul></ul></ul><ul><ul><ul><li>Gauguin’s decorative sense, </li></ul></ul></ul><ul><ul><ul><li>Van Gogh’s vivid nature. </li></ul></ul></ul>
  11. 11. Influences <ul><ul><li>From the German Expressionism they assumed : </li></ul></ul><ul><ul><ul><li>the pure and vigorous colour, </li></ul></ul></ul><ul><ul><ul><li>the lack of modelling, </li></ul></ul></ul><ul><ul><ul><li>the strong and direct line, </li></ul></ul></ul><ul><ul><ul><li>the dynamic sensuality and the subjective interpretation of the artist. </li></ul></ul></ul>
  12. 12. Influences <ul><ul><li>From exotic cultures they took : </li></ul></ul><ul><ul><ul><li>the richness of colour </li></ul></ul></ul><ul><ul><ul><li>and formal references. </li></ul></ul></ul><ul><ul><li>They had an influence on other Avant-Garde movements. </li></ul></ul>

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