The Fauves (Art of Century Collection)
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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.
which he lived — perhaps because he always retained the purity of soul natural to a true “primitive.” In 1912, war hung in the very air of Europe. Vlaminck hated the meaningless slaughter of war and blamed civilization for it. The artist produced many landscapes in the 1920s and Landscape with a House on a Hill (p. 93) is probably not one of the more outstanding examples. Nevertheless, it reveals the maturity of the painter. From a fairly restrained palette of greens, browns, yellows and greys
he was very fond of the cinema and was a member of the jury at the Cannes Film Festivals. The collection of Fauvist works in Moscow and St Petersburg does not allow us to see Van Dongen’s late works, but his pieces from the period 1907-1911 laid the Kees Van Dongen. Photograph. Kees Van Dongen, Lady in Black Gloves, 1907-1908. Oil on canvas, 73 x 91 cm. Pushkin State Museum of Fine Arts, Moscow. (p. 146) Kees van Dongen, The Red Dancer, 1907. Oil on canvas, 99.7 x 81 cm. State Hermitage Museum,
Saint Petersburg. (p. 147) 145 146 Kees van Dongen, Woman in a Black Hat, 1908. Oil on canvas, 100 x 81.5 cm. State Hermitage Museum, Saint Petersburg. Kees Van Dongen, Spanish Woman, 1910-1911. Oil on canvas, 46 x 39 cm. Pushkin State Museum of Fine Arts, Moscow. (p. 150) Kees Van Dongen, Antonia La Coquinera, 1906. Oil on canvas, 100 x 81 cm. State Hermitage Museum, Saint Petersburg. (p. 151) 148 foundation for what was to come later in his painting. In 1907-1908 Van Dongen often
from: G. Diehl, Henri Matisse, Paris, 1954, p. 90. 30 Quoted from: R. Escholier, Matisse, Paris, 1938, p. 98. 31 Quoted from: B. Dorival, Les Étapes de la peinture française contemporaine, Paris, 1944, vol. 2, p. 94. 32 Quoted from: J. Laude, La Peinture française (1905-1914) et « l’art nègre », Paris, 1968, p. 137. 33 Quoted from: R. Escholier, Matisse, Paris, 1938, p. 155. 34 Quoted from: M. Genevoix, Vlaminck, Paris, 1983, p. 11. 35 Ch. Chassé, Les Fauves et leur temps,
1937), which Matisse created at the end of his life, demonstrates in its integrity of conception and unity in the assembling of pictorial means all the qualities of Fauvism with no less force than the painting of his youth. Fauvism started life together with the twentieth century — a sober, technical century full of complex machinery and immense speeds, the most savage of wars, violence 57 Henri Matisse, Conversation, 1908-1912. Oil on canvas, 177 x 217 cm. State Hermitage Museum, Saint