By Nathalia Brodskaia
Born on the sunrise of the 20 th century, Fauvism burst in 1905 Salon d'Automne with a powerful scandal. It was once like throwing colours on the face of the educational artwork entangled in its ancestral conventions. Then a number of artists, like Matisse, Derain or Vlaminck, hunted for a brand new chromatic language through diverting the colour from its signified. free of any connotation, utilized in flat tints, the colour, they claimed as their basically normal, impregnated their wonderful work. the writer invitations us to this ball of shiny and impressive colours, and exhibits us how the violence of the Fauves left its mark at the route to modernity.
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Additional resources for The Fauves (Art of Century Collection)
Example text
The Fauves became the only association of artists in the history of art to join together in order to protest their right to work without any sort of common program, declaring their program to be complete freedom for each individual personality, complete creative independence both from any theoretical direction and from their like-minded friends. The turn of a century seems a mere symbolic boundary, yet much did indeed change at the dawn of the twentieth century. The international art world of Paris became so motley and varied, so independent with regard to official artistic life and traditional society that the idea of the artist becoming an outcast completely disappeared, faded into the past together with the nineteenth century.
30 Even more significant was the place they occupied at the exhibition of the Salon d’Automne. In memory of Moreau, Desvallières decided to bring his pupils together — the post of vice-president gave him great opportunities. And that is how the hall appeared, in which side by side were displayed canvases by Matisse, Marquet, Valtat, Manguin, Camoin, and probably also Matisse’s friend, Jean Puy. Two writers with attitudes toward the Fauves, which were poles apart, recognized them as a distinct group.
It embraced Matisse, who was engrossed in the science of his painting — in Salmon’s words, “a bearded painter in gold glasses, who brought a tone of severity, of professional gravity to the discussion,”11 and the spontaneous Vlaminck who provoked the envy of friends from Montmartre for just the opposite reason: “How does that bugger Vlaminck manage to be so modern without the help of the least intellect. ”13 And finally, the humblest of the humble, Marquet, who confided to Vlaminck: “I want to become a cab driver!