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Fauvism

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Revision unit on Fauvism

Revision unit on Fauvism


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  • 1. FAUVISM Revision
  • 2. The “Fauves”
    • The group is not homogeneous and lacks of a defined programme,
    • They share
      • their opposition to the Art Nouveau decoration and
      • opposition to the formal consistence of the Symbolism.
    • Members of this group are :
      • Matisse,
      • Marquet,
      • Dufy,
      • Derain,
      • Braque, and
      • Vlaminck.
  • 3. Phylosophy
    • T hey conceived the art as a vital impulse
    • T hey started depicting some subjects in a critic way.
    • Far from Cezanne’s synthesis there was just one possibility: to solve the dualism between :
      • the feeling –the colour –
      • and the construction –the plastic form, the volume, the space –putting special strength on the colour
  • 4. Technique
    • Their main objective is the pursue of colour with a plastic-constructive aim, as a structural element of the vision.
    • Some of them dissolved the image, following Van Gogh or Signac
    • They tend to make evident
      • the additive process,
      • the structure of the image and
      • 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
  • 5. Characteristics
    • The group appeared in France between 1903 and 1907.
    • Their style is vigorous, far from any academic principal.
    • Their characteristics are:
      • lyric and expressive character expressed through the colour;
      • attempt to conciliate real and interior world;
  • 6. Characteristics
      • they look for the essential and simple;
      • among the subjects there are :
        • landscapes, f
        • luvial scenes and
        • lyric scenes with an important weight of imagination;
  • 7. Characteristics
      • they represent reality in a subjective way;
      • 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;
      • formal synthesis;
      • elimination of spatial perspective;
  • 8. Characteristics
      • suppression of the definition of forms based on the chiaroscuro;
      • references to exotic and primitive cultures;
      • they created pictorial spaces based on decorative motives taken from wall papers or crafts’ pieces
  • 9. Influences
    • Their influences come from different movements:
      • From the impressionist :
        • theory of colour,
        • chromatic joy,
        • daily life subjects,
        • landscapes,
        • interiors,
        • portraits
        • and still-lives.
  • 10. Influences
      • From the Post-impressionism they took :
        • the division in zones,
        • the plenitude of colour,
        • Gauguin’s decorative sense,
        • Van Gogh’s vivid nature.
  • 11. Influences
      • From the German Expressionism they assumed :
        • the pure and vigorous colour,
        • the lack of modelling,
        • the strong and direct line,
        • the dynamic sensuality and the subjective interpretation of the artist.
  • 12. Influences
      • From exotic cultures they took :
        • the richness of colour
        • and formal references.
      • They had an influence on other Avant-Garde movements.