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3.  Used intense color to emphasize light & space; show
artists emotional state.
 Favored traditional subjects.
 One of the first modernist movements.
 Rejected natural perspective
 Used ordinary subject matter in own expressive
ways.
 Juxtaposing colors to create new tones and looks
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4.  Lasted from 1903-1907ish
 Became evident at Salon d’Automne of 1905
 “Fauves” translates directly to “wild beasts”
 Grew from works of several acquaintances
interested in the same technique
› pupils of Gustave Moreau
 Artists used the unique light of the south of
France to inspire new color pallets.
› The city of Chatou
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5. “He did not send us on the right road, but off the
roads”-Henri Matisse Fauvist painter
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6.  Known for his strange and mystical works
 Parents were both artists
 Began studies with Neoclassicism
 Attended L’Ecole des Beaux-Arts
 Learned to love exotic romanticism, dramatic
lighting and bright colors
 Inspired a lot of symbolist painters, poets and
writers
 Became professor at L’Ecole des Beaux-Arts
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7. “Fauve art isn’t everything, but it is the foundation of
everything”-Henri Matisse
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8.  Pointillism led Matisse to develop color structure
 Studied at L’Ecole des Beaux-Arts
 Goal was to create his own language through
works
 Studied under Gustave Moreau
 Basically the founder of Fauvism
 Only artist who really stuck with it his whole life
 Inspired many young painters
 Liked to paint with the female figure
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9. “In art, theories are as useful as a doctor’s prescription; one
be sick to believe [the other].”-Maurice de Vlaminck
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10.  Born in Paris from two musical parents
 Didn’t get to have “the best” education
› Still very curious and emotionally fearless
 Seen in his works that he was not afraid of how the
public would react
› Rebellion, roughness, and disorder
 Met Derain on a train; shared a studio in the city
Chatou
 After fauvism, turned toward more conserved
paintings
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11. “I used color as means of expressing my emotion and not a
transcription of nature”- Andre Derain
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12.  Studied with de Vlaminck in Paris
 Met Matisse in 1899 and began to work together
 Can see a lot of Impressionist subjects in his work
› Landscapes
› Cities
 Was drafted into the war from 1901-1904 and art
studies intrupted
 When he returned, jumped right into Fauvism with
his old friends
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13. “My only objective is to paint a Christ so moving that
those who see him will be converted.”-Georges Rouault
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14.  Cubism, expressionism, and fauvism all part of his
work; but never wanted to be tied to a specific
movement
 Very religious, aimed to show life in “best light”
 Paintings sought to reveal society’s imperfections
 Paintings showed this by using violent colors and
sharp strokes
 Also studied at L’Ecole de Beaux Arts under
Moreau
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19.  Influences for Fauvism
› Represented the break of ordinary things in nature
to artist’s interpertation
› Post-Impressionism: the bright and vibrant colors &
crazy brushstrokes
› The pure, bright colors with which Vincent Van Gogh
will forever remain associated
› Futurism: broke away from Romanticism
› Futurism and Fauvism worked together
› Naturism: cultural and political movement
promoting public nudity
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20.  Influences from Fauvism
› Modernism: reject normal connections and committed to
new ideas
› Experimentation, discovery, searching were used to
define art
› Abstractionism
› Began to ignore “social realities”
› Bold colorization was a formative influence on countless
artists, including Max Beckmann, Oskar Kokoschka, Egon
Schiele, and George Baselitz
› Context of being first modernism movement highly
influenced Katherine Mansfield
 Writer for a journal that used “raw” qualities of Fauvist
movement
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21. Max Beckmann
Oskar Kokoschka
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22. Egon Schiele
George Baseelitz
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23.  Exhibition at Salon d’Automne 1905 shocked many
people
› Where critic Louis Vauxcelles gave them their name
 All of the works put in a room with a renaissance statue
put in the middle of them all
 Some saw as political statement since colors challenged
normal aesthetics of traditional art
 Judges of Salon asked Fauves to stop painting “out of
respect”
 Positive critics said paintings were “flat”; considered a
window to the world
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