2. Context 1900s
The Wright brothers achieve
the first manned flight by
airplane, in Kitty Hawk in
1903;
U.S. President William
McKinley is assassinated in
1901 by Leon Czolgosz
America gains control over
the Philippines in 1902, after
the Philippine–American
War
An earthquake on the San
Andreas Fault destroys much
of San Francisco, killing at
least 3,000 in 1906;
Rock being moved to
construct the Panama Canal
Admiral Togo before the
Battle of Tsushima in 1905,
part of the Russo-Japanese
War, leading to Japanese
victory and their
establishment as a great
power.
3. A time of change & technology
• 1900 - The first zeppelin flight occurs over Lake Constance near Friedrichshafen,
Germany on July 2, 1900.
• 1906- A diesel engine built by MAN AG.
• 1901 - First electric typewriter is invented by George Canfield Blickensderfer of
Erie, Pennsylvania.
• 1901 - The first radio receiver (successfully received a radio transmission). This
receiver was developed by Guglielmo Marconi.
• 1902 - Sir James Mackenzie of Scone, Scotland invented an early lie detector or
polygraph.
• 1902 - Georges Claude invented the neon lamp
• 1902 - Lyman Gilmore of Washington, United States is awarded a patent for a
steam engine,
• 1902 - The Wright brothers of Ohio, United States create the 1902 version of the
Wright Glider.
• 1903 - Ford Motor Company produces its first car — the Ford Model A.
• 1904–1914 - The Panama Canal constructed by the United States in the territory
of Panama,
• 1906 - The Victor Talking Machine Company releases the Victrola, the most
popular gramophone model until the late 1920s
• 1906 - Sound radio broadcasting was invented by Reginald Fessenden and Lee
De Forest
4. Context 1900s in Art
• 1900 - The Brownie camera is
invented; this was the beginning of
the Eastman Kodak company. The
Brownie popularized low-cost
photography and introduced the
concept of the snapshot. The first
Brownie was introduced in February,
1900.
• 1907 — The Autochrome Lumière
which was patented in 1903 becomes
the first commercial colour
photography process.
5. Impressionism 1870s
• Impressionist painting
characteristics include relatively
small, thin, yet visible brush
strokes, open composition,
emphasis on accurate depiction
of light in its changing qualities
(often accentuating the effects
of the passage of time).
• Ordinary subject matter,
inclusion of movement as a
crucial element of human
perception and experience, and
unusual visual angles.
• Artists- Monet , Manet, Sisley,
Morisot, Pissarro, Degas
6. Post-Impressionism - 1886-1905
Post-Impressionists pushed the
ideas of the Impressionists into
new directions.
The Post-Impressionists were an
eclectic bunch of individuals, so
there were no broad, unifying
characteristics. Each artist took
an aspect of Impressionism and
exaggerated it.
For example-
Vincent van Gogh intensified
Impressionism's already vibrant
colours and painted them thickly
on the canvas (we call this
impasto). Van Gogh's energetic
brushstrokes expressed
emotional qualities.
7. Georges Seurat took the rapid,
"broken" brushwork of
Impressionism and developed it
into the millions of coloured
dots that create Pointillism,
while Paul Cézanne elevated
Impressionism's separation of
colours into separations of
whole planes of colour
8. Neo-Impressionism - 1886-1906
Neo-Impressionism (a.k.a.
Divisionism or Pointillism) ( Neo as
in New) is a movement and a style.
It is a subdivision of the larger
avant-garde movement called Post-
Impressionism.
The Neo-Impressionist surface
seems to vibrate with a glow that
radiates from the minuscule dots
that are packed together to create
a specific hue. The painted surfaces
are especially luminescent.
Artists – Signac, Pissaro, Lemmen,
H E Cross, & Luce.
Paul Signac (French, 1863-
1935). Capo di Noli, 1898.
9. The Fauves
• Fauvism was the first of the avant-garde movements that flourished
in France in the early years of the twentieth century.
• The Fauve painters were the first to break with Impressionism as well
as with older, traditional methods of perception.
• Their spontaneous, often subjective response to nature was
expressed in bold, undisguised brushstrokes and high-keyed, vibrant
colours directly from the tube.
10. • Fauvism is the style of les Fauves
(French for "the wild beasts")
• A loose group of early twentieth-
century Modern artists whose
works emphasized painterly
qualities and strong colour over
the representational or
realistic values retained by
Impressionism.
• While Fauvism as a style began
around 1900 and continued
beyond 1910, the movement as
such lasted only a few years,
1904–1908, and had three
exhibitions.
• The leaders of the movement
were Henri Matisse and André
Derain.
11. Besides Matisse and Derain, other
artists included
• Albert Marquet,
• Charles Camoin,
• Louis Valtat,
• Henri Evenepoel,
• Maurice Marinot,
• Jean Puy,
• Maurice de Vlaminck,
• Henri Manguin,
• Raoul Dufy,
• Othon Friesz,
• Georges Rouault, Jean
Metzinger,
• Kees van Dongen
• Georges Braque (subsequently
Picasso's partner in Cubism).
12. • The paintings of the Fauves were characterized
by seemingly wild brush work and strident
colours, while their subject matter had a high
degree of simplification and abstraction.
• Fauvism can be classified as an extreme
development of Van Gogh's Post-
Impressionism fused with the pointillism
of Seurat and other Neo-Impressionist
painters, in particular Paul Signac.
• Other key influences were Paul Cézanne and Paul
Gauguin.
“How do you see these trees? They are yellow. So,
put in yellow; this shadow, rather blue, paint it with
pure ultramarine; these red leaves? Put in
vermilion.”
• Fauvism can also be seen as a mode of
Expressionism.
13. • Gustave Moreau was the
movement's inspirational teacher;
a controversial professor at the
École des Beaux-Arts in Paris
• He taught Matisse, Marquet,
Manguin, Rouault and Camoin
during the 1890s, and was viewed
by critics as the group's
philosophical leader until Matisse
was recognized as such in 1904.
• Moreau's broad-mindedness,
originality and affirmation of the
expressive potency of pure colour
was inspirational for his students.
• Matisse said of him, "He did not
set us on the right roads, but off
the roads. He disturbed our
complacency.“
• This source of empathy was taken
away with Moreau's death in
1898.
The Apparition by Moreau -1890s
15. Henri Matisse-(French, 1869–1954)
• Their leader was Matisse, who had arrived at
the Fauve style after earlier experimenting
with the various Post-Impressionist styles of
Van Gogh, Gauguin, and Cézanne, and the
Neo-Impressionism of Seurat, Cross, and
Signac.
• These influences inspired him to reject
traditional three-dimensional space and seek
instead a new picture space defined by the
movement of colour planes.
• After viewing the boldly coloured canvases of
Henri Matisse, André Derain, Albert Marquet,
Maurice de Vlaminck, Kees van Dongen,
Charles Camoin, and Jean Puy at the Salon
d'Automne of 1905, the critic Louis
Vauxcelles disparaged the painters as
"fauves" (wild beasts), thus giving their
movement the name by which it became
known, Fauvism.
19. Andre Derain-1880 –1954
• As an artist, Derain occupied a place
midway between the impetuous
Vlaminck and the more controlled
Matisse.
• He had worked with Vlaminck in
Chatou, near Paris, intermittently from
1900 on ("School of Chatou"), and
spent the summer of 1905 with
Matisse in Collioure.
• In 1906–7, he also painted some
twenty-nine scenes of London in a
more restrained palette-
– Charing Cross Bridge (1906)
21. Maurice de Vlaminck
(French 1876-1958)
Another major Fauve
was Maurice de
Vlaminck, who might be
called a "natural" Fauve
because his use of
highly intense colour
corresponded to his
own exuberant nature.
24. • Fauvism was a transitional, learning stage.
• By 1908, a revived interest in Paul Cézanne's vision of
the order and structure of nature had led many of
them to reject the turbulent emotionalism of Fauvism
in favour of the logic of Cubism.
• Braque became the co-founder with Picasso of Cubism.
• Derain, after a brief flirtation with Cubism, became a
widely popular painter in a somewhat neoclassical
manner.
• Matisse alone pursued the course he had pioneered,
achieving a sophisticated balance between his own
emotions and the world he painted.
27. Matisse- Still Life with
Blue Table cloth (1911)
Henri Matisse Still Life Bouquet
Of Dahlias And White Book
(1923)
28. Key Factors
Set up
• Still life needs to be colourful and patterned if
possible.
• Items of the day= Fruit, pots, vases bowls and
plants/flowers
Approach
• Bold colours with minimal blending
• Simple flat imaging of any patterns
• Fill the page with colour
• Outlining in areas
