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Matisse and Derain: The Audacious ‘Wild Beasts’ of Fauvism in a Radiant Show | Matisse and Derain: The Audacious ‘Wild Beasts’ of Fauvism in a Radiant Show |
(about 8 hours later) | |
If you ever took an art history survey in college, you may recall the blur of Fauvism. In the parade of projected images, it was the shocking flash of pure color that sped past as the course made its way to the more demanding rigors and longer shelf lives of Picasso’s “Les Demoiselles d’Avignon” and Cubism. | If you ever took an art history survey in college, you may recall the blur of Fauvism. In the parade of projected images, it was the shocking flash of pure color that sped past as the course made its way to the more demanding rigors and longer shelf lives of Picasso’s “Les Demoiselles d’Avignon” and Cubism. |
Fauvism, which lasted from about 1904 to 1908, is the first and probably the shortest of Modernism’s art movements. It is also one of the messiest, populated by a shifting cast of painters and locales. It lacks a manifesto or statement of goals, or even much stylistic coherence, and its tortuous buildup may have been longer than the trend itself. | Fauvism, which lasted from about 1904 to 1908, is the first and probably the shortest of Modernism’s art movements. It is also one of the messiest, populated by a shifting cast of painters and locales. It lacks a manifesto or statement of goals, or even much stylistic coherence, and its tortuous buildup may have been longer than the trend itself. |
But in at least two ways the achievement of “les Fauves,” or “the wild beasts,” a term coined by the French critic Louis Vauxcelles — is foundational to modernist painting. It liberated color from merely describing reality — for example, green no longer equaled grass — opening the way to vivid colors that had a life of their own on canvas. The Fauves also freed artists from repetitious systems of paint handling — the dots, dashes and regular brush strokes of their Post-Impressionist predecessors including Seurat, Cézanne and even van Gogh. | But in at least two ways the achievement of “les Fauves,” or “the wild beasts,” a term coined by the French critic Louis Vauxcelles — is foundational to modernist painting. It liberated color from merely describing reality — for example, green no longer equaled grass — opening the way to vivid colors that had a life of their own on canvas. The Fauves also freed artists from repetitious systems of paint handling — the dots, dashes and regular brush strokes of their Post-Impressionist predecessors including Seurat, Cézanne and even van Gogh. |