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"Excited handling of pure colors and drastic simplification of line: such was Fauvism, the first art revolution of the twentieth century ... This comprehensive study illustrates the work of some twenty artists, French, German, Dutch and Russian, and fills in the essential background of pre-Fauvism going back to Monet, Gaugain and Van Gogh."--Back cover.
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Even though public and critical reaction to the first exhibited fauvist works was one of hostility and astonishment, fauvist paintings are today among the most loved of all twentieth-century art. Here are the artists--their works, relationships, achievements, affinities, and critics. 170 illustrations.
Fauve paintings, with their bold distortion of forms and exuberant colour, created great controversy when they were first exhibited in the early years of the 20th century.
Born at the dawn of the 20th century, Fauvism burst onto the artistic scene at the 1905 Salon d'Automne with great controversy by throwing bright, vibrant colours in the face of artistic convention. Fuelled by change, artists like Matisse, Derain, and Vlaminck searched for a new chromatic language by using colour out of its habitual context. Freed from the strict technique advocated by the École des Beaux-Arts, they used blocky colours as their main resource, saturating their stunning paintings. The author invites us to experience this vivid artistic evolution that, although encompassing a short amount of time, left its mark on the path to modernity.
This is the first comprehensive scholarly bibliography/research guide/sourcebook on the major French Fauve painters (Henri Matisse and Georges Braque are treated in separate Greenwood bio-bibliographies). It includes information on 3,120 books and articles as well as chronologies, biographical sketches, and exhibition lists. Each artist receives a primary and secondary bibliography with many annotated entries. Secondary bibliographies include details about each artists' life and career, relationships with other artists, work in various media, iconography, and more. Designed for art historians, art students, museum and gallery curators, and art lovers alike, this volume organizes the vast literature surrounding this fascinating, revolutionary, 20th-century art group. Genuinely new art is always challenging, sometimes even shocking to those unprepared for it. In 1905, the paintings of Matisse, Derain, Vlaminck and their friends shocked conservative museum-goers; hence, the eventual popularity of art critic Louis Vauxcelles's tag les fauves, or wild beasts by which these artists became known. Although it lasted only three or four years, Fauvism is recognized as the first artistic revolution of international consequence in the 20th century. It was based on the glorification of pure saturated colors and the free expression of primitivism. It was a dynamic sensualism; an equilibrium of passion and order, fire and austerity that could not last. By the end of 1908, Fauvism collapsed in the face of Cubism, which, moreover, several Fauve artists helped to form.
John Elderfield,Museum of Modern Art (New York, N.Y.),San Francisco Museum of Modern Art,Kimbell Art Museum
Author : John Elderfield,Museum of Modern Art (New York, N.Y.),San Francisco Museum of Modern Art,Kimbell Art Museum Publisher : Unknown Page : 174 pages File Size : 45,5 Mb Release : 1976 Category : Art ISBN : UOM:39015007564159
This is the first comprehensive scholarly bibliography/research guide/sourcebook on the major French Fauve painters (Henri Matisse and Georges Braque are treated in separate Greenwood bio-bibliographies). It includes information on 3,120 books and articles as well as chronologies, biographical sketches, and exhibition lists. Each artist receives a primary and secondary bibliography with many annotated entries. Secondary bibliographies include details about each artists' life and career, relationships with other artists, work in various media, iconography, and more. Designed for art historians, art students, museum and gallery curators, and art lovers alike, this volume organizes the vast literature surrounding this fascinating, revolutionary, 20th-century art group. Genuinely new art is always challenging, sometimes even shocking to those unprepared for it. In 1905, the paintings of Matisse, Derain, Vlaminck and their friends shocked conservative museum-goers; hence, the eventual popularity of art critic Louis Vauxcelles's tag les fauves, or wild beasts by which these artists became known. Although it lasted only three or four years, Fauvism is recognized as the first artistic revolution of international consequence in the 20th century. It was based on the glorification of pure saturated colors and the free expression of primitivism. It was a dynamic sensualism; an equilibrium of passion and order, fire and austerity that could not last. By the end of 1908, Fauvism collapsed in the face of Cubism, which, moreover, several Fauve artists helped to form.
The book is a catalogue of an exhibition held in 1995-1996 in Sydney and Melbourne. It has illustrations of paintings by artists Georges Braque, Charles Camoin, Andre Derain, Kees van Dongen, Raoul Dufy, Othon Friesz, Henri Manguin, Albert Marquet, Henri Matisse and Maurice de Vlaminck.
Judi Freeman,Los Angeles County Museum of Art,Metropolitan Museum of Art (New York, N.Y.),Royal Academy of Arts (Great Britain)
Author : Judi Freeman,Los Angeles County Museum of Art,Metropolitan Museum of Art (New York, N.Y.),Royal Academy of Arts (Great Britain) Publisher : Angeles County Museum of Art Page : 360 pages File Size : 50,5 Mb Release : 1990 Category : Fauvism ISBN : UOM:39015019556185
The Fauve Landscape by Judi Freeman,Los Angeles County Museum of Art,Metropolitan Museum of Art (New York, N.Y.),Royal Academy of Arts (Great Britain) Pdf
This text is devoted to the colourful landscapes produced during the Fauvist period of 1904-1908. An essay on the emergence of the Fauve landscape is followed by four essays devoted to individual sites and such topics as Fauvism's impact on tourism and politics. Another essay concentrates on the critical landscape, in essence the critics' reception of these paintings. Matisse, Braque, Derain, Vlaminck, Dufy, Marquet, Manguin and Friesz are represented with examples of their works.
