Fauvism

Fauvism and
the Wild Beasts of Early 20th Century Art

the small group of artists who, shortly after the turn of the century, exploded onto the scene with a wild, vibrant style of expressionistic art that shocked the critics but has since been recognized as one of the seminal forces that drove modern art.

They were called the fauves, French for "wild beasts", a term of derision used to indicate their apparent lack of discipline.

Today fauvism once thought of as a minor, short-lived, movement, is recognized as having paved the way to both cubism and modern expressionism in its disregard for natural forms and its love of unbridled color.

The Development of Fauvism

In a sense, Fauvism evolved from pointillism which, in turn, had evolved as a development of impressionism. The open-air paintings of the impressionists emphasized the way strong light broke up the uniform color of surfaces into shimmering bits of reflected color. They abandoned the carefully graduated tonal painting of the past and built their pictures with small brush strokes of pure color.

Pointillism took this further by painting with tiny dots of contrasting hues. Seurat, the greatest exponent of pointillism, held that each dot of paint should be accompanied by a weaker dot of its complement. Van Gogh had used some of the same techniques, but with much broader and bolder strokes.

Matisse dabbled in pointillism for awhile, but, his instinct was to make every stroke of his painting strong. He and his group developed a style of broad, short strokes of bright contrasting colors.

The new style that had been evolving for several years burst upon the public in October 1905 at the Salon d'Automne. To the traditionalists, the new style (embodying Derain's ideal of color for color's sake) seemed dangerous.

The paintings were hung together in the central gallery, surrounding a conventional renaissance-style statue. Tradition has it that art critic Louis Vauxcelles remarked of the situation: "Ah, Donatello au millieu des fauves. (Donatello among the wild beasts)" As the impressionists had before them, the fauves happily clung to the name that had been given to them as an insult.

Fauvism Fades as its Practitioners Evolve

By 1907, the major artists in the Fauve camp were beginning to evolve their styles in other directions. The influence of Paul Cezanne was having its effect on most of the artists of the early twentieth century.

In the paintings below, the bright colors and wild brush strokes of fauvism are giving way to the beginnings of the cubist and other modern movements.

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 colors directly from the tube.

Henri Matisse (French, 1869–1954) and André Derain (French, 1880–1954) introduced unnaturalistic color and vivid brushstrokes into their paintings in the summer of 1905, working together in the small fishing port of Collioure on the Mediterranean coast (1975.1.194; 1982.179.29). When their pictures were exhibited later that year at the Salon d'Automne in Paris (Matisse, The Woman with a Hat), they inspired the witty critic Louis Vauxcelles to call them fauves ("wild beasts") in his review for the magazine Gil Blas. This term was later applied to the artists themselves.

The Fauves were a loosely shaped group of artists sharing a similar approach to nature, but they had no definitive program. 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 color planes (1999.363.38; The Young Sailor I; 1999.363.41).

Another major Fauve was Maurice de Vlaminck (French, 1876–1958), who might be called a "natural" Fauve because his use of highly intense color corresponded to his own exuberant nature. Vlaminck took the final step toward embracing the Fauve style (1999.363.84; 1999.363.83) after seeing the second large retrospective exhibition of Van Gogh's work at the Salon des Indépendants in the spring of 1905, and the Fauve paintings produced by Matisse and Derain in Collioure.

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, he also painted some fifteen scenes of London in a more restrained palette.

Other important Fauvists were Kees van Dongen, Charles Camoin, Henri-Charles Manguin, Othon Friesz, Jean Puy, Louis Valtat, and Georges Rouault. These were joined in 1906 by Georges Braque and Raoul Dufy.

For most of these artists, 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 favor of the logic of Cubism. Braque became the cofounder 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.

The Fauvist movement has been compared to German Expressionism, both projecting brilliant colors and spontaneous brushwork, and indebted to the same late nineteenth-century sources, especially Van Gogh. The French were more concerned with the formal aspects of pictorial organization, while the German Expressionists were more emotionally involved in their subjects.

Between 1901 and 1906, several comprehensive exhibitions were held in Paris, making the work of Vincent van Gogh, Paul Gauguin, and Paul Cézanne widely accessible for the first time. For the painters who saw the achievements of these great artists, the effect was one of liberation and they began to experiment with radical new styles. Fauvism was the first movement of this modern period, in which color ruled supreme.

The advent of Modernism is often dated by the appearance of the Fauves in Paris at the Salon d'Automne in 1905. Their style of painting, using non-naturalistic colors, was one of the first avant-garde developments in European art. They greatly admired van Gogh, who said of his own work: ``Instead of trying to render what I see before me, I use color in a completely arbitrary way to express myself powerfully''. The Fauvists carried this idea further, translating their feelings into color with a rough, almost clumsy style. Matisse was a dominant figure in the movement; other Fauvists included Vlaminck, Derain, Marquet, and Rouault. However, they did not form a cohesive group and by 1908 a number of painters had seceded to Cubism.
Fauvism was a short-lived movement, lasting only as long as its originator, Henri Matisse (1869-1954), fought to find the artistic freedom he needed. Matisse had to make color serve his art, rather as Gauguin needed to paint the sand pink to express an emotion. The Fauvists believed absolutely in color as an emotional force. With Matisse and his friends, Maurice de Vlaminck (1876-1958) and André Derain (1880-1954), color lost its descriptive qualities and became luminous, creating light rather than imitating it. They astonished viewers at the 1905 Salon d'Automne: the art critic Louis Vauxcelles saw their bold paintings surrounding a conventional sculpture of a young boy, and remarked that it was like a Donatello ``parmi les fauves'' (among the wild beasts). The painterly freedom of the Fauves and their expressive use of color gave splendid proof of their intelligent study of van Gogh's art. But their art seemed brasher than anything seen before.
During its brief flourishing, Fauvism had some notable adherents, including Rouault, Dufy, and Braque. Vlaminck had a touch of his internal moods: even if The River (c. 1910; 60 x 73 cm (23 1/2 x 28 3/4 in)) looks at peace, we feel a storm is coming. A self-professed ``primitive'', he ignored the wealth of art in the Louvre, preferring to collect the African masks that became so important to early 20th-century art.
Derain also showed a primitive wildness in his Fauve period-- Charing Cross Bridge (1906; 80 x 100 cm (32 x 39 in)) bestrides a strangely tropical London-- though as he aged he quenched his fire to a classic calm. He shared a studio with Vlaminck for a while and The River and Charing Cross Bridge seem to share a vibrant power: both reveal an unselfconscious use of color and shape, a delight in the sheer patterning of things. This may not be profound art but it does give visual pleasure.

among Blue odes

Violently asleep in the old house.

A clock stays awake all night ticking.

Turning, turning their bruised leaves

The trees stay awake all night in the wood.

Talk to me with your body through my dreams.

Tell me what we are going through.

The walls of the room are muttering,

Old trees, old Utopians, arguing with the wind.

To float like a dead man in a sea of dreams

And half those dreams being dreamed by someone else.

Fifteen years of sleepwalking with you,

Wading against the tide, and with the tide.

Adrienne Rich, The will to change (poems 1968-1970) among Blue odes

Absence

I have scarcely left you
when you go in me, crystalline,
or trembling,
or uneasy, wounded by me
or overwhelmed with love, as when your eyes
close upon the gift of life
that without cease I give you.

My love,
we have found each other
thirsty and we have
drunk up all the water and the blood,
we found each other
hungry
and we bit each other
as fire bites,
leaving wounds in us.

But wait for me,
keep for me your sweetness.
I will give you too
a rose.


Pablo Neruda

Edouard Boubat

Edouard Boubat, France's most famous romantic photographer, was born in Paris on September 13, 1923. He grew up on the Rue Cyrano-de-Bergerac, Montmartre. As the son of an army chef, he heard many tales of the Great War, in which his father served as a cook on the front lines and was wounded three times.

In 1938, Boubat attended the Ecole Estienne, where he studied to become a photo-engraver, but in 1943, he was called up to serve two years of compulsory labour in a factory in Leipzig, Germany. Upon his return to Paris in 1946, Boubat sold his six-volume dictionary to fund the purchase of his first camera, a 6x6 Rolleicord. 

Boubat's approach to photography was deeply affected by World War II: "Because I know war -- because I know the horror, I don't want to add to it." After the war, we felt the need to celebrate life, and for me photography was the means to achieve this.î Spanning a 50 year career, Boubat's photographs do just that. They celebrate the beauty, simplicity, and little things in life. 

His first professional photograph was taken in the Jardin du Luxembourg in 1946, "Little Girl with Dead Leaves," a charming and magical shot. The following year, at the age of 24, Boubat exhibited the picture at the Salon International de la Photographie organized by the BibliothËque Nationale de France, and was awarded the Kodak Prize. It was an amazing start to his career.

The same year that he bought the Rolleicord Boubat met his future wife, Lella, of whom he took some of the most beautiful and emblematic photographs of the 20th century. 

In 1950, Boubat's work was initially published by the Swiss magazine Camera. Soon after, he became acquainted with the artistic director of the French magazine Realites. From then on, Boubat traveled the world for the prestigious magazine. His assignments often took him to poor and desolate regions, but Boubat still managed to capture only love and beauty. His special gift as a photojournalist was finding the common thread that linked the everyday life of people everywhere. 

For Boubat, photography meant meeting his fellow man. He loved to photograph humanity; his images bear witness to the specific relationship he had with his subjects, on which he commented: "We are living photographs. Photography reveals the images within us."

In 1968, Boubat left Realites magazine, but continued to work on an independent basis. He tirelessly sought to bring the emotion and beauty of life to our gaze. Considered an heir of Henri Cartier-Bresson's "decisive moment" photography, Boubat had a rare talent for capturing those fleeting, magical moments that can only be immortalized by the confident eye of a true master. 

Boubat died in 1999 in Paris, leaving behind a remarkable collection of photography, on which he often philosophized: "Over a lifetime I have noticed that everything is woven together by chance encounters and special moments," he said. "A photograph gives you a deep insight into a moment, it recalls a whole world."

About Alvin Ailey American Dance Theater

Alvin Ailey American Dance Theater grew from a now-fabled performance in March 1958 at the 92nd Street Y in New York City. Led by Alvin Ailey and a group of young African-American modern dancers, that performance changed forever the perception of American dance. The Ailey company has gone on to perform for an estimated 23 million people at theaters in 48 states and 71 countries on six continents -- as well as millions more through television broadcasts. In 2008, a U.S. Congressional resolution designated the Company as “a vital American cultural ambassador to the world,” one that celebrates the uniqueness of the African-American cultural experience and the preservation and enrichment of the American modern dance heritage. When Mr. Ailey began creating dances, he drew upon his "blood memories" of Texas, the blues, spirituals and gospel as inspiration, which resulted in the creation of his most popular and critically acclaimed work, Revelations. Although he created 79 ballets over his lifetime, Mr. Ailey maintained that his company was not exclusively a repository for his own work. Today, the Company continues Mr. Ailey's mission by presenting important works of the past and commissioning new ones. In all, more than 200 works by over 80 choreographers are part of the Ailey company’s repertory. Before his untimely death in 1989, Alvin Ailey designated Judith Jamison as his successor, and over the next 21 years, she brought the Company to unprecedented success. In July 2011, Ms. Jamison passed the mantle to Robert Battle. In announcing his appointment as Artistic Director, Ms. Jamison stated, “Combining an intimate knowledge of the Ailey company with an independent perspective, Robert Battle is without question the creative force of the future.”