about history of modern art. trying to define Fauvism in a little presentation .. the art of early 20th century, or a little art movement of history...

2. FAUVISM
(1899-1908)
presented
by:
PIRAH

3. When a group of colorful,
expressive painters exhibited at
the 1905 Salon d’Automne in
Paris, the art critic Louis
Vauxcelles compared them
unfavorably to a Renaissance-
style bust in the centre of the
room and likened the experience
to seeing ‘Donatello in the middle
of wild beasts’. The insult inspired
the group, and The Wild Beasts –
or Les Fauves – were born.
Fauvism

4. Why they are called Fauvist by art
critics???
.the natural appearance of The group of artists who
used color , and paint with great freedom distorting
subjects.
. 1905 when the young artists exhibited their works in
Salon d’Automne , and an art critic(Louis Vauxcelles)
visited the exhibition he saw the canvases in front of them
not as art , but rather as an ”explosion violence” on the
canvases
. He labeled them les Fauves because of their full and
violent color application an bold distortion

5. “Color was not given to us in
order that we should imitate nature’
It was given to us so we can
express our own emotions” (Henri Matisse)
.

11. This picture derives its theme from
Gauguin's study and imaginative
interpretation of Polynesian mythology.
The main figure is Taaroa, central figure
of the Maori pantheon, the creator of
the world about whom the artist writes
in his Ancient Cult Mahorie. In his honor
gifts are being brought by two maidens
on the left, while on the right two girls
perform a ritual dance.

12. Gauguin's sources and his inventiveness
are both clearly evident. The repetitive
profiles of the white-clad girls stem from
Egypt; the dancers from his observation of
the life around him, stylized to make a
pendant group; and the god from his
hieratic distillation of the myths he had read
about. The three naked figures in the
foreground seem to suggest creation, their
languid poses (and especially the embryo
curl of the figure on the right) related to the
overpowering energy of the god behind
them.

13. The curves of their figures, and of the god's feather
headdress are echoed in the foreground. The water is
filled with curious amoeba-like shapes, which,
perhaps rocks, perhaps shadows (but from where?),
are above all simply decorative forms designed to
give the composition its mood and rhythm, and picked
up again in the arbitrary cloud shapes of the
background. We recognize here the synthetics
simplifications of the Brittany pictures of 1888 and
1889. Now however, Gauguin has stylized them to
the point of almost complete abstraction

17. The artist's wife, Amélie, posed for this
half-length portrait. She is depicted in
an elaborate outfit with classic
attributes of the French bourgeoisie: a
gloved arm holding a fan and an
elaborate hat perched atop her head.
Her costume's vibrant hues are purely
expressive, however; when asked about
the hue of the dress Madame Matisse
was actually wearing when she posed
for the portrait, the artist allegedly
replied, "Black, of course."

18. What I dream of is an art of
expression
what I dream is an art of boldness,
purity an serenity dividing of
troubling or depressing subject
matter.
I want my work to be soothing so
that the exhausted over worked
and stressed spectator finds rest
and calm in it .
(Henri Matisse)

20. It is an example of the Fauvist style of
painting that Matisse became famous for,
and for which he was a leader, roughly
between the years 1900–1909.The Open
Window depicts the view out the window
of his apartment in Collioure, on the
Southern coast of France. We see
sailboats on the water, as viewed from
Matisse's hotel window overlooking the
harbor. He returned frequently to the
theme of the open window in Paris and
especially during the years in Nice and
Etretat, and in his final years, particularly
during the late 1940s.

22. Landscape at Collioure is halfway between
the artist’s brief “pointillist period” and his
more characteristic fauvist language. It
depicts the Mediterranean landscape
surrounding Collioure, a small coastal town
in the Languedoc-Roussillon province,
where Matisse had been established to work
with his friend and rival André Derain. In
other landscapes created in Collioure, such
as "The open window", Matisse uses other
elements to create a certain feeling of depth.
But in this landscape there is nothing but
patches of wild and uninhibited color, free
and fully fauvist.

24. HARMONY IN RED
Some art historians consider The dessert:
harmony in red (The red room) 1908 to be
Matisse's masterpiece. This large painting was
commissioned as 'Harmony in Blue' but Matisse
was dissatisfied with the result, so he painted it
over with his preferred red. This fauvist painting,
like impressionism, has no central focal point.
Painted with flat areas of colour rather than his
characteristic thick brushmarks, Matisse
emphasised the flat decorative surface of the
painting. Note, however, that the colour has been
modulated and is only flat in comparison to his
earlier style.

25. Each surface has a subtle variation
in tone and hue. For example the
red wallpaper appears to have
picked up some of the blue from the
floral arrangement motif. This
modulation provides a richer
surface than one that is painted
evenly flat.

26. Henri Matisse : La Dance
1909 1910

27. The Dance (La Danse) refers to
either of two related paintings made
by Henri Matisse between 1909 and
1910. The first, preliminary version is
Matisse's study for the second
version. The composition or
arrangement of dancing figures is
reminiscent of Blake's watercolor
"Oberon, Titania and Puck with
fairies dancing" from 1786.

28. Dance (I)
In March 1909, Matisse painted a
preliminary version of this work, known
as Dance (I).It was a compositional study
and uses paler colors and less detail.The
painting was highly regarded by the
artist who once called it "the
overpowering climax of luminosity"; it is
also featured in the background of
Matisse's La Danse with Nasturtiums
(1912).

29. Dance, is a large decorative panel,
painted with a companion piece,
Music, specifically for the Russian
businessman and art collector
Sergei Shchukin, with whom Matisse
had a long association. Until the
October Revolution of 1917, this
painting hung together with Music
on the staircase of Shchukin's
Moscow mansion.

30. The painting shows five dancing figures,
painted in a strong red, set against a very
simplified green landscape and deep blue
sky. It reflects Matisse's incipient fascination
with primitive art, and uses a classic Fauvist
color palette: the intense warm colors
against the cool blue-green background and
the rhythmical succession of dancing nudes
convey the feelings of emotional liberation
and hedonism. The painting is often
associated with the "Dance of the Young
Girls" from Igor Stravinsky’s famous musical
work The Rite of Spring

32. A trip to the South of France at the age of 36
saw Matisse find his inspiration. He captured
the French town of Collioure in a bold and
groundbreaking exploration of colour that
earned him a reputation as a fauve or wild
beast.
The term was coined by a critic who saw
Matisse's work and was astonished by his
wild and exaggerated use of color. The Roofs
of Collioure uses color to convey an
emotional response to the landscape rather
than a faithful representation of the scene
itself.

37. This painting is an allegorical representation
of the life of an artist. It is a completely
invented scene, bearing no resemblance to
the solitariness of Derain's true working
conditions. He has portrayed himself
surrounded by members of his family, who
can be seen as modern muses. His wife
reads a book, a reference to the artist's
literary interests. His niece holds a dog, a
symbol of her fidelity to the artist. His sister-
in-law brings refreshments in the manner of a
maidservant in a seventeenth-century
painting. The animals and fruit also
symbolise aspects of the calling of an artist.

39. glowing in flat-patterned shapes or exploding
into sprays of broken brush strokes, is
intended more to be expressive of the artist´s
feelings than descriptive of the particular
landscape. The curving road, the tree trunks
and branches, and the choreographed forms
of villagers all sway to an integrated rhythm.
The harmonious composition controls the
brilliant, vibrant colors. The Turning Road is
Derain´s most ambitious painting from his
Fauve period. The Turning Road is less a
spontaneous expression in color than a
carefully constructed masterpiece, worked
out through preparatory studies.