hh arnason - fauvism (ch. 07)

8/17/2019 HH Arnason - Fauvism (Ch. 07)

1/16

! "' :

"

1

·

08

7

Fauvism

onaeo au iieu de aVe! "Donateo mong the wid bes! ws he ready qip of Los Vauxceles, rt

cr for he revew l B when he entered VatPs's 905 Son d'Automne ad fd msef surrodedby blazngly colored, vehemen brushed cnvases n emds of wich stood a sm noenissnce sculpr .1%th wts Vaxceles gave the st French avant-�rdstyle to emerge in he eneth centry its name, heby provokng one of moderism's classic scdas It shouldbe ted hwever, hat Vauxcees was generly sympatheic to the work presented by the group of youg per, s were other beral criics

The strtg point of Fauvism was later idened byHer Masse, the sober d rather professoria leader ofh Fauves, as "he courage to return to the puri of

mes. Masse d s felow pantersdr�DerMaUrice de lc Georges Rouault, aoul D, andotherslowed ther search for mmediacy and crity toshow forth wih bold, lmost unbearable candor leveng themselves of Symboist terry aesthecs,along wth n·deicle morbity, he Fauves reclaimed

Impressioisms direct, joyous embrace of natre and combned it with Post-Impressioniss heightened color contrass nd emoonl expressive depth They emancipatedcolor :om is roe of descbing externl reay and concenratd on the medium's abi to commuicate directlythe rst's experence of hat reay by exploitng the pure

cromatc itensit of paint Fauvism urst on to tleParisin art scene at a e when he heady pace of chge the arts, as soety as a whole was coming to be seenas pt of he new modern word order Moreover, asartss om many dierent counies and backgrouds

were rawn to Pris seelng contact with te excng newdevelopmens rt there, Fauve pings made a deepimpression on he new generaon of avt-garde sts who were so comig to terms with the possibiiies for paining opened up by Cze

Inevitably the Fauves emphasis on achievng personauhentic mean that they would never form a coherent

movement or issue he nd of jot theoretcl m produced by may subsequent avnt-garde moveBut before dring apart as eary as 907 the Fauvecert deite nd que conribuons Thoughthem atempted complete absracon, as dd her c

porries Vasily Kisky or Robert Delaunay, for exthey exnded he boundries of representaion b

prt on eir exposure to nonWestern souces rcan rt For subect matter hey turned to potst fe, d ldscape In le last, especay i thMaisse, they revisualized Ipressiosms teisure as a paga ide of bonheur de vivre he joyMost imporant of l, he Fauvst pters praccedin which the painting was conceved as an auoncreaon decately poised beeen eression

from emotion, subecve experience and expressio ulated by pure opca sensaion

"Puty of Means n Pactce: HMatsse's aly CaeeHi Ma (869954) was bo ony taer Bonnard (see chapter 3) nd ouived b

years These o contemporaries had much i cas rss. They were among the greates colorststentieth centry, d each lerned something oer Yet Masse, one of e pioneers of

century expement n ping seems to belong togeneraton and to a derent world. Like Bnarrst stied aw but by 891 he had enroled Acadmi Juan studying briey with the academcBugereau, who ce to represent everyng hein rt The folowng yer he entered he Ecoe es Ar and was foruate enough to sudy wihMoreau see g 32 a deicated teacher whoaged his stdents to nd ter drecon constant stdy n museums, as we as through ineeriment In his cass Maisse met Georges

bert Mrquet, HeCharles Mangin, Chles C


2/16

nd Chles Gun, a of whom were later associated he Fauves.

Matisse's work deveoped slowly om the dk tonliiesand liter sbjects he rst explored By the late 180she had dscovered N eo-Impressiosm and arists such ToulouseLaec and most importnty Czane Inabot 188 he begn to experiment wth gures and silf pinted n bright nondescripve coor In 100Masse entered he ateier of Egne Carrre a mker ofdrely romnc gre pinngs There he met nDen, who noduced to Vnck he following year, compeng the p1ncip Fauve io ond thame Maisse aso worked n the studo of ntoineBodee (see g 6.4 mlg hs rst attempts at sclp

e and demonsang he abilities tha were o make hm one ofhe grea panterscptors of the_ weneth centryElst Wksong the pintngs tha Masse copied in he ouvreding hs stdent days under oreau as a sil ifeby he seventeenthcentury Dutch pnter Jn Davdszde Heem asses version a ee copy considerablymaler thn the ogna In 115 he was to mle a Cubistaiation of the work A he Slon de a Soct Naonaledes BeauxAs (known as the Slon de a Naonae) of87 he ebited his own composion of a sil fe

inner Tale (g 7 which was not favorably receivedby the conservaves Though hghly radton on he faceof it his work was one of Matisses most compcated ndcely consrcted composions to date nd it was hist uly mode work Wle it sil depended on locyescpve color ths pang reveled n its lminosity aninterest n the Im p ressioss. The ab ruply lt ed t able tharow ds nd conacs he space of t he pict ure anticipatedhe atists sbsequent move toward radca simplication s later eat ment of simiar subjects (see g. 7.11)MaleModel of abot 100 (g 72 cared this process ofsm pca o and contacon se veral sages rther, even

He Msse aDesserte er Tabe)18969 il n cvs39� [99 130.8 rvtecllecn

o le pOnt of some dstoron of perspecve to aceve asense of demited space The modeng of he e nabrupt faces of color was a dect response to the panngsof anne, whose ence cn lso be seen in9armelina an resng onted arrangement n whch!e nude model proecs sclptrlly from the rectngulresign of the backgrond With hs own ce reected in

enr Mtsse ae ode LHomme Nu; e SefAcademe /eue Bevacqua) is 900 il n cnvs39; 28 993 77 m) he Museu f Mdrn At,ew Yr.

CHAP , ASM 09


3/16

Hen Mte x 904 n cnv 37 46" (4 68 Me

_ Or, r

the or bend the mode, Masse noduced o themes�he stuo teror d the rst wi is model

to whch he oen ened in the cose of is as if to restte the moderist's abndoent of ect aacment to the ouside wod vor of evergreater absorpion n he world of t

Beteen 1902 d 1905 Maisse eibted at the Salon des ndpendns d at the g eres of Berhe Wei andmbrose Vold The laer was raply becong e princpl deler for the avant·grde arss of Paris hen he more libel Salon d'Automne was established 190,Masse showed ere along wi Bnnad d Mrquet.But most notoos was he Salon d'Automne of 1905, in wich a room of paings by Masse, mnc, Derain, nd Ruault, among ohers is supposed to have occa- soned he remark hat gave he gop ts perment nme

The Fauv Prid The word fauve made parcular reference to hese arss brnt, rbtray color, more intense than he scenc" color of e NeoImpressoniss d he nondescipive color of Gauguin ad Van Gogh d to e dec vgorous brushwor wth wich Masse ad s ends had been expermenng he prevous ye at St. ropez and Collioure on the Riviera n he souh of Fce TheFauves accompshed e beraion of color towrd wich, in her d erent ways, zne, Ggui V Gogh,

0 AUV\M

Seura d e Nabis had been epermenng simiar mes, e Fauves were itent on differe

They wished to use pre color sueezed ec the tube not to describe bjects nature not s set up rel vbraons not to accentuate a romical subject, but to build new pctoa veom ll these hus, in a sense, hey were sg of Gaugin and Seurat eely combned wi lne rhyms, to reach effecs smilr to thsezanne constanty sought It is no accident tha arsts of he previous generaon, t was znneMasse revered he most

Erer n 190 at the Slon des Indpendnts had eady ehibited is arge Neompresson poson xe ame e vup (fg 7), a title ta a couplet n Baudeare's poem £ nviaon au vo

u qu u!L u

There all is oy order d beaut/Rchnes sensua"

I is importt wor wch went along to absracio he combined he mosaic landscape of Signac who bougt he painig) wh gure o on that recls Czae's many compostons ofsee g 311 one of wich Masse owned At tis St Tropez beach scene Masse depicted h


4/16

6ie, beside a pii spead. But tis mndae avy istported to a tmeless aadian wod populated by ld ndes elaxng alog a beah that hs been gedh dazzg ed Wh e heefoe Masse offeed aacl reinteetao of he gand Pstoal taion ilndsape png, best exemped in Fne by ClaudeLn and oussi (see g 110) As my of -theptgs that postdate this wok idyll wold is exsi vely fe m ale. Ma ti sse w as w a ry o f ll t he or es in t, a nd

houg h hs bold panng old hrdly be onsideed aoho dox exmple ofNeoImpessioism is expemeato n th the staato stokes of that sle gave way tohe modes

At he Salon d'Automne of905, Matsse so exibitede en ndo (g 7.4) ad a potait of Madameatsse aled Woman ih he Hat The On Wino ispehaps he st ly deveoped exmple of a hemevoed by Masse thoghout the est of his lfe It is sim

a sma gmet of he of a oom, take p piniplly th a lage ndow whose semets ae thownde to the outside wold balony with owepots d

d beyond that he sea sk and boats of he hbooloe It was a t is Meiteanan pot dng the

s of 90, hat Matsse nd Deain podued heFauve pangs I The Oen Windo he iside wlthe asements e omposed of boad, vea sipes

geen ble, puple ad oge, while the otside a bliant patten of smal bushsokes g

stppled dots of gee to boade stokes of pink

n , The Open Widow, 195 O on cn, 18\ 5.2 46 m Collo John y

' "

w o.

wite d ble in sea ad sk Ths ivesity of pnt han·dlg even i adjoinig passages with he same pitewas tpial of Masses ely Fave ompositos Beeehs pately ms Matsse le bae pathes of avaseifoing the impat of bshstokes that have bee feed: the taitonal ole of desbng fom in ode tosuggest an intense, vibang lght By this date he asthad aleady moved beyond Bnad o y of theeoImpessioiss towad abstaton

In eompessionism, as in Impessionism he genealzed love istibo of olo pathes and textehad poded a sese of atmosphei depth at the smetme that it also asseted the physil pesee and mpeneabi of he panng sue Matisse, howeve sted an tel famewok of faets and planes thate even boade d atte thn hose of Czae sppessing ll sese of aosphee; intenal ilminaton, theplay of light hn a paintg hat sggests physil depth,is eplaed wih a taut esistnt s of pigment thateets le light Rthe h llog he viewe to etepitol spae his tough vibant membane of olo andpatten daws the eye ove and aoss, bt aey beyode pite ple And even n the view thogh he Ow, the hig is so vgoously selfassetve that he

5 Poa Mme Matisse/he Green Lie,19 Ol d mr o cnv, 15 1 2"43

x7 m) Sn m o n Conhg

HA 7 A SM 1 1


5/16

scene appears to advance- more than recede, as if to tn insde out he Renassance concepon of the pnting as asimulacum of a window open into the ite depth of the

el wold. pesented by Masse the wndow ad its

sparkg iew of a holiday maina become a picte within

a pcre Ths is a heme the artst oen psued ansfong it to a metphor of the moderst beef hat the

ppose of pantng was not to repesent he perceptal

wold but aher to use sua smu that would take theiewe beyond the peceptal ealo he luson of

peceptual retythat was he stock n ade of ee

Western art

Masse's Wman ih he Ha caused an een greate o han e Open ndo because of the seemngly wldabandon wh whch the atst had apped pant oer the

surface not oly the backgond and hat but also n the

face of the stte whose feates re oulined n bold

strokes of green ad emon Paadocaly, 1uch of the

shock aue spag from the acta esmtude of the

pnted image its clsenss to a recognizable sing n obous measue of the degree of

imposed upon rea by the pante At a later moped state of absacton odest art was to

ndependent of s soces n the mateial wold

less an attack on the faar hn an autonomo

a elately less teateng purely aeshec905 Masse cod beate s mens maly b

mo that nspred such freedomthe umnohoday world of the Frenc ea a agdecke

one of the peiods ntasc hats

Sholy aer ehbtng Wman ih he H panted another poat of Madame Masse tha

was een moe audacous pecsely because

sketchke more tghtly dawn and stctured

fMme Maie/e een ine (g 7, the is donated by a brant pea green bad of sh

ng it om harie to chin At point MatFaue coleagues wee buldng on the thesis p

6 Hn e, e e e e e e, 905 O n , 5J 79% 4 m

h n Fdton, ern, nnyln

2 R 7 AUVM


6/16

- -�

by augin, he Symbosts, nd e Nabis: at e artisti ee to use color inde pendely of narl a pperance

uling a tucture of abstact color shape and linesoreign to he gre tee, or st e at remins he bsis

suctre. Perhaps aisse's version was more imme-shocg because hi ubject was o simple and

fal

r,

like he exoic scenes of Gaugn or he mys-

fantasie of Redn n wich such biy colsm�'s

u

more acceptable Wi its hea, emphac stokessg ue of complemeny hue the painting is

cly loest to pot by Van Gogh (ee g 32)The rtit' experimen wih arcadi gure com

o climxed in e legendr e Bonheu de vve76, a paintng lled with iverse remiiscences of

t, from The Feat ofthe Go by Giovai Belii dto Persian paining from prehistoic cave pining

a compoiion by Ingres tis large work (it is nelyfeet, or 25 m, wide), e arist has blended all ee

uece into a masterl argement of gue nd eesin uous dulatg es remiscent of contempora

Nouveau design (see chapter 5 Le Bonheu de vveled wi a mood of sensual guor; gures cavort

Dionysi abdon i a ldscape at pusates withriotous color Yet te ge group are deployed as

er


7/16

"' �

·

er Mass B : B, 1 907. l o aas, 36X X 56" [92 142.5 . e Ms

the pat of in rt, tey have been ranslated om the pas eestnig ioi supture of Aia to a piorial expression by means of the znis thatMasse had been ltvatg al long This n be seen n he dynami harater of the wole, n whih rhyng ves and oterves iages d aermages nd interhanges of oor nd texe mke gure and ground merge nto one another

In ts heme Bue Nude belogs to he raion n ineteenthentury pg of the odlsque, or member of a Not an hrem (see g 113). Ts subet of the exoti sexuy avlable woman, eoited by Dea- rox Ingres d ounless lesser Salon rsts, was des- tined for vsu onsmpton by a predoinany mle auiene. But the level of abstraton Maisse mposes on hs subet, as h ze's bathers, moves the gure beyond te expliiy ero spondng to he harges of ugness made agnst Bue Nud Masse sid: I met suh a womn in te street, I shold ru away in terror Above I do not reate a wom I ake a ptue"Inspired by the exampe of what he aled he vented planes d proporons of in supre Masse d not restruture he han e and gure in he overt aggressve manner of Pisso her, he used these soures n hs own suble reetive fashion, assilang and syn thesizing unil they re sarey sernbe.

/ \ 7 : VS

Msse, II 90-Cas cvas, 6 0/ X 4'6" [2l Xl 3 Ses Msu KsC g


8/16

With L Le a work of 1078 (g. 78) Masse.

si1

e

d

a move away om s Fauve production of ep

re

ing

years It is a large painting, nealy seven feem) tl, hat Masse elaboraely prepared with l·charcoal nd ol skeches The o skec Le L>e is

looser in execuon, and closer o auvism tn reat, umodulaed zones of color in he version

h uhLeL>e explores a theme siilr o tha of Le

etvoup and L Bonhe> de vvre(see gs 73, 7,gures are now ife-size nd domnae he lancape.

.Cclo rist•all y , Le Lue I is f r mo re subdued, rel g on

of locized color bod by crisp lines Despite theabndonment of perspecve ecept for he arbi

iution of one ge and modeing in ight andslacHW

,

he painng is no merely surce decoraon The• res modeled only by the conor ines, have subsance;

exst and move in space, wih e llusion of depnd created solely by a color shapes ha are, at

same me, synonymous spaialy wih he picure plneacul subjec of e painng remains eusive The

u•ng wo a beauil, compac shape, seems to beten�

o her companion some way (perhaps drng her whle anoer rushes oward the pair proerng a

ouqet of owers Maisse may have implied a mythologheme, suc Venus's brh from the sea bu,

C2y, he oly hns a such narraves

"Wd easts Tamed: Deran, and Du1880154 met te older Matisse a

Carrires ateier in 00 as already noted, and was encour

aged by him o proceed ih s career as a painter Helready knew Mauice de lamck, whom erin in urnhad led from his varous careers as vioiis, novelis andicycle racer no he eld of paning Ulke Vlanck,-� =

was a serous sden of he ar of the meumsdespie s inital entusiasm for the explosive color

of Fauvsm was constanly haned by a more ordered andraional concept of paning

All1ough Derains auve painings emboed every kdof painerly vaiation, from large-scale Neopressioiso ee brhwork most caracerisic, perhaps re works ke London Bdge (g 7 9) was panted ding a ipcommissioned by he dealer Voard, who waned Deraino make pags a would capure he specal atmos phere of London (laude Mone's many ews of he cyhad ust been successly exbited in Pris) To compareerns painng i e mpr�ssionis's earlier wok,Brdge at ente> (see g 228 o undersand etrnsformatios r had undergone in roughly iry years,as well as e damenl role mpressionism had playedin those ransformatons hile in ondon Deran vsitedthe museums, sudng especlly he painings of Turner,laude, and Rembrd, as well as ican sculprenke Monet's vew of the Seine, his painng of eThames is a brillianly synteic color arrangement ofharmoies and issonances he backgrond sky is rose pink he builings slhoueed agast it are complemen·ary green and blue By reerang large color reas in theoreground and backgound and lting e perspectve,erain delimit e dep of is image e summer ofJ0 several mons aer le rip o ondon, Derainspent me in Etaue, he fmous sie of pintingsby zane (see g. 3 Bu is grand pnorama of abend in he road (g 70) ales is cue from Gauguin(see g 317, 31 in is brlan pette and he evocation of an ideaized rem £ om the urban bustle ofondons wateays ih work ern avels to neweemes of inensiy nd antinaism in s olor, a

0 world n wich he hues of a single ee can shi ramac" aly haf a dozen imesDerain was essenally an academic painter who hap

pened o becOme involved in a revoluonary movemen, parcipaed in it effecvely, but was never compleelyhappy in he contex In 0 e became a friend of

9 An inondo Bdge 1906Oi n ns 6 9"(66 99. eMuseum f Mde AtNw Y

HR 7 UVSM 5


9/16

j;

.

I·;'

Andre Dain, Tug Ro LEsq 06 O on canv 43 X 6% 13 X .9 m) h Mm of F AHoto

Picasso and was awn nto e votex of poto-Cubsm

(see chapte 10). But houghout the yes ofWo\dWa 191418, whih Dean fought and at�r whenPicasso ad Baque wee expding hei discovees Synthec Cubsm and explong altenaive styles Dean was movig back consistenly fom zne to that stssouces Poussn ad Chan His iecon was awayom e ve expements of the ene centu hadheped deelop back tog the ovatos of the latenineteenth ceny he Renassance Dens eto optcal eism fomed pa of a lage "cal to odeaodWodWa when a mbe of Fench ss and wtes sought to enew ei t tough· the moe clas

scl foms ofWesten at Pcassos assczg wok fomthe second half of he 191 Os d ely en es belongs tothis phenomenon see gs. 1418 14.2023 as does ne peceng chapte e wok of Malo see g 613Pehaps most ncave of is gadua but thooughgogchge n Deains oulook is that 930 he sold sevealAican sclptes om s coecon to buy Renaissaceand qe as Hs ne consevasm suted a

ve y even otpt of lanscapes ndes sl fes andpoais nd a seous decne ae Wold Wa seputaion whch s now being eexamined

The caee of d V 1871958pesents many paallels w Deains even though he

LA I 1\f CA

asts wee so eent in pesonal and

appoach to the t of pantng Vain ws Pas of Femsh stock a fact of consideable mphn peonally and one that may have conibunJe of his panng mplsve and exubean

c d Vmnk P Coy 5O on c 35 X 45 889 456 m rco\ co.


10/16

sef -t aught t st w i anrchist polical leanings w ho lik ed

t boast of his contem pt for the rt of muse ns. From

e tme he met Derain and urned to pang, he wasraptured w color Thus the Gogh exhibion at

Bernhem-Jeune Glery n Pais n 90 was a revelato At he Slon des Indpendants n he sameDerain ntoduced m to Matisse but t ws not

1905, aer exposure to te work of both rss, atncKs work reached its potentl despte hs lseto have been he leader of the Fauves. Vn Gogh

_remnd Vnc's great nspaton, nd in hs Fauvelck characterscy used e short

op] brushsroks of the Dutchm to atan a comparale kind of colosc dynmsm s n Pcnc n theCo�nt (g 7) Two gures e solated wtn a coilof sirng color patches; hey are foregners om eod of nature, pcnickng in a forest of paint His sml

b ut dramac P ortrait ofDean (g 72 s one of sev kenesses he Fauves made of one another Vlminckhere moved beyond he reconal, ulcolored

of Pcnc n the ouny to a boldy conceved mage whch Derans face is predonanty n ntense bril

ant red wth black contours yellow gghs, d a fewof contrsng green shadow along he brdge of

2 Mre e Vlminck PorrJ of Dera, 0 O on;rdr 0% 8%" [23 222 . h Mopoltn

eu o At Nw Yor

14

3 Roul See ecke w Flag, e Have, 06Oi on cn 3 25 8 5 7 . Me to'rt Modene Prs

the nose recalling Matisses Potat of Me Matsse/heGeen Lne (see g 5

By 1908 Vaminck to was beginnng to be affected byte new view of CzaJe hat resulted ·om the exbiions

after Czannes deah in 1906 And although for a me he was in touch th he new exploratons of Pcasso andBraque leag toward alyc Cubsm nd even used vrous forms of smplcaton based on the ideas, in actuy he ke erin ws gradually retreating nto the wordof representaton by way of Czanne By 1915 lamnckhad moved towrd a nd of expressve reasm hat he coninued to pursue for he rest of s fe

(8953) was shoked out of reverence for he mpressonists and Vn Gogh by s scovery of Masse's 905 painting Le1 cale et volupt

when he sd "mpressost resm lost all s carm Ia sense he remained fathl to ts vson and to Fauvecolor throughout his ife Hs Steet Decked wth Flags LHave (g. 71) tales up a subject celebrated by thempressonists, but the bold oseup ew of the ags mposes a higly abstcted geometic patern on he scene.

nuenced by Georges Braque, hs fellow panter omLe Havre D aer 1908 expermented wth a moedform of Cubsm, but he was never really happy ts vein.Gradually he returned to is former lovesdecoratvecolor d elegant rasmanspnd formulated a persona syle based on s erer Fauvism Hs pleasurable

AR 7 ASM


11/16

subecs were the horse races and regaas of his natve eHavre and nearby Deavlle, the nude model in the sdio,and the view ·om a widow to he sea beyond He mainained a ainbow calgapc sle unl the end of s lifeappg it to fabics, theacal sets and book illusaionsas we as paings.

For Masse Fauvism ws only a begig · whichhe wen on to

ich, producve creer tha sps the rs

half of the teneth ceny Deai nd aminck, how-ever d litle subsequently at had the vitlit of therFauve works. I is nterestg tO speculate on why these young men shoud briey have outdone hemseves, buhe sgle overriding explaon is probably the presenceofHei Masselder han he oers, more mat�e d,umaely, more gied as an rist Bu in adion oMasse and oua (see below) there was also GeoesBraque, who er iscoverg s st brief and reaivelylate inspiaon i Fauvism, went on to resdy zanne wih consequences for eniehcentury art so sigicanthat they must awt a subsequent chapter on Cubism

Clos of the S ptua ye:Geoges RouaultThe one Fauve who was lmost exclusively concerne:witha deliberaey Expressionist subject mater s perhaps not tobe considered a Fauve at hs is Georges Rouault(187-1958), who exibied three works in he 90Slon dAutomne and ths is assocated wih he work ofhe group, although pgs were no acully shown he oom with theirs Throughout s long nd pro-ducve ceer, Rouault remined deepl regious deeply

emoonl and proly moralsc. He came from afamiy of crasmen and he mself was rst appreiced toa stainedgass arsan. he stuo of Gustave Moreauhe 1e Maisse nd other ture Fauves, nd soon becameMoreau's favorte pup, for he foowed most oselyMoreaus ow sle nd conceps.

By 1903 Rouault's art lke that of Masse and othersod was undegoing profound changes, reecnga racl shi n hs morl nd religious oulook Like send he Cahoc wter d propagandis on BloyRault sough subecs to express hs sense of indgnatonnd sgst over he evils that as it seemed to per-

meaed bogeois socie The prostute became hs sym-bol of s rotg societ He depicted her with a erceloaig, raher han objecvely, or wth he cycal sym- pahy of ToouseLautrecwho it mst be addedrepresented invidus rher h Rauls gener tpesuault vid prostes to pose in s suio pingthem wih aibutes such as sockigs or corse to inicateheir profession many of these sues, done in waercolor, he womn is set ihin a coned space to focusaenon on the ge (g 7. Some ofe poses andhe predomnny blue hues of hese warcolors tem par from Rouault's admaion for Canne The womens

18 CHP 7 VS

yellowwlte bodis, touched wih lightblue sha modeed sclprally wih he freely brushed

Here he mslike gmace of he ce is reecedmrror lke a isted parpase of the classca Vecontem lates her bau �1 a lookng glass \vas not untl the enes Wh the work of he BerlGeorge Grosz who bore itness through hs amoral faings of posw Germn socie, lt p were nterpreted wh comparable vehemence

oualt's moral ingnao rher mastlike Daumers, in vicious cacares of judges and His counterpoint o he corrup prose gure of the circus clown someimes e carefreebeang his um, but more oen a ragic laceraed eay as 1904 he had begun o depic subjecrecly · the Gospelshe Crucxion, Jesus scples, d oher scenes from the ife of Crepresented he gure of Chist as a agic msk of of Sorrows derivg iecy om a crucied CGrewald see g. .7 or a tormented Christ by

ouault's regous and moral senmens are perhamovgly conveyed in a series of eight prinMsee ha was commissioned by his dealer (whose heirs he artis laer had o sue o reieve ens of s studio F?r years Raul devoted

.14 Geoge oa, e eoe o 90Waeoo o adoad 27 X 2 [ X 53 Mse Naona d' dene, Cene Naoa d'Ce eoes Podo as


12/16

.1 eorge Roult T e Od King 636 Oil onana 30! 2 768 X 54 m Carnegie Meum ofh Prgh.

he producion of he ecs and aquains of Meee wch were prned beeen 922 and 927 bu nobshed uni 948, when he ars was seven-sevenTecicay, he prns are maserpieces of grapc com pression The back ones, wored over andoer again, have he deph and ricess ofhis mos vivid oi coors

The characeriscs of Rouau's aere e see n e Old Kng (g 7)The desgn has become geomeicay

absac feeing, and coors ae nensedo achieve he gow of saed gss A heavback one s sed o dee he raher

7.16 L umiEne brothers, Yo ung La d y w a Um bre a, 1906-lO. Auochome hoto grap h.Foaton Notonle de Ia Poogrop hie,L yons, France .

Egi-se proe of he g's head and hesqure proporons of his orso. Pain s appedheavy wih he undetining gowing hrough, nhe mer of embrd oua aso capuressome of he Duch maser's mood n his sereneimage of a wordweary ruer, who cuches a owerin his hnd, one of he few aces of whie in heenre paing Ahough ouau never enieygave up he spir of mor ndignaion expressed ine vien sare ha mked is eary wors hesense of cm ad he hope of savaon in he aer

panngs mk as one of he few auhenc regous painers of he modern word

The Belle Epoque on Camera:The Lumire Brothers andartigueeveopn1ens in phoography conemporary wihhe yeas of Fauvsm cude he rs phoogra

phers o ake up a coor process, aer one wasny made pubic 904 and commercay feasibe in 907 by Agst and Lois Lmir(862954; 864948) of Lyons, Frce (g 7) By coang one side of a ass pae h amxure of ny, ranspen sarch parces, eachdyed red, green or bue (he hee prmary phoographic coors) and he oher side wh a hin panchromac emusion, he ures creaed a ghsensve pae ha, once exposed, deveoped,and projeced on a we grod, reproduced a

l -coor image of he subec phoogaphed The Auo

chromes-s he umires caed he sides made by her� paened processrendered mages n mued onaies

wih he ook of a negained exre, an effec ha sim py heghen�d he iheren charm of he bigh subecmaer Ths was especiay ue for a Fauve generaon senced wih Neo-Impressiosm Ther nvenion was

HR V 19


13/16

·,.' I.'

1

'li

I

,l

'·

ll"

jaqes-Henr Large, I Rom: e a 5Getiser pn, 5 X [7 X;8 m)

immdately taken up by professional photographers, especily the so-called Pictoilis, such as Edward Steichen, as

well as amateus around the worldDu's privileged, Belle poque word of regattas and

racecorses was lso ceebrated by the French contempo

rry photographerJacqusHn gu (89498once the st-action handhd camera had been nt�oducedin 888 d then progressively improved Such developments encouraged. eerimentaton and enabled tsfuent chld atist (he began making photogaphs at ageseven) to capte not oy is family and iends at eir

pleasures, but lso the gradual advent of such wenethcent phenomena as auto aces and aviation At his death n 98 Large, who was a painter professionly, lebend a huge number of photographs and jouals thatdocument a chrmed life of holidays, swimming holes andeeganly cad ladies and genlemen He was eeven when

he aimed is camea at the toy cars n is beroom (g77, and is image adopts a cilds angle on the worldThe ny crs· at eye leve, tle on strnge mensions all of which i s compounded by the mysteriously draped eplacethat looms above them Ong to his view of photographyas a pursuit carred on for prvate satsfacton d deightLartgue dd not become gene1:lly known until a show atNew Yorks Museum of Mode rt in 93 when is work took an immediate place n the history of rt as adrct ancestor of the "straight bu unmstkably istinctive sion of such photographers as rassa and HeriCarterresson

20 CER 7 : VISM

Modernism on a Grand Scale:Matisse's Art after FauvismFauvism was a short-lved but tremendously nmovement that had no deive conclusion thoug

ecvely rawn to a cose by 908 he ecMatisses at explored in L Lue is carried sllin Hao n ed (g 78 a large panng dfo the Moscow ding room of Sergei Shckin, mportt early paron wo along with van is the reason Russin museums re today key repoof Matisses greatest work s astonishing p was begn early in 908 as Han n Blue anrepainted in the fall, in a racly fferent color sHere Masse retrned to the formua of Dnne wch he had panted in 8997 (see g 7) pison of the two canvases revels rmaticly te

tion that had occed in tis artists worksand imode pintngduing a ten-year peiod Admthe rst Dnne Table was sti an apprentce piecetvely conventonal exploraton of Impressiost icolor nd contracted space acaly more aitio

pantings eecuted by the mpressionists twent y ler Nevertheless, when submed to te SaloNaonale it was severely criticied by the conservbeing tainted with Impressionism n Haony nhave moved into a new wold less empiricl abstract than ayting ever envisioned by Gauginless the mpressioss he space of the nterio is


14/16

by a singe umodulated ea of ed) the aess of ch

:- reinfoced by abesques of plant foms that ow acoss wlls and table surface. These patterns were actlly

from a pece of decoatve fabrc that Matsse

,o>n


15/16

:

9 nr Mass (II), 1909- Oi n canvas 8% 29W 6 39 m rmag MusS rsg

n Mass, Music 99 . O on canvas 8%" X 1 '9¥" 6 9 . T ag Mus S r

CHAPTER 7 ' FAUVISM


16/16

her own modeled contous and sweeping movements.

depth nd ntensiy of he colors change in ierent

t imes setting up isul vbrons that make the

surface dnce. Music is a perfect foil for the kinetic

of Dance) in he sttic, :ontlized poses of he g

nged lke notes on muscl sff, each solted

the ohers to crete a mood of ncelie -thdwl.

,10 •s explnton of Fuvism s "the courage to rern a 'pi ofmens sll holds tue here In both pnt

he cadn worlds of elier pnters (see g. 1.10)

been nsfoed nto n eemental em beyond hepeifcji

hh arnason - fauvism (ch. 07)

Documents