Henri Rousseau was not a Fauve, but his large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited near Matisse's work and may have had an influence on the pejorative used.
The group gained their name after Vauxcelles described their show of work with the phrase "Donatello chez les fauves" (" Donatello among the wild beasts"), contrasting their "orgy of pure tones" with a Renaissance-style sculpture by Albert Marque that shared the room with them.
The artists shared their first exhibition at the 1905 Salon d'Automne. Henri Rousseau, The Hungry Lion Throws Itself on the Antelope, 1905, oil on canvas, 200 cm × 301 cm, Beyeler Foundation, BaselĪfter viewing the boldly colored canvases of Henri Matisse, André Derain, Albert Marquet, Maurice de Vlaminck, Kees van Dongen, Charles Camoin, Robert Deborne and Jean Puy at the Salon d'Automne of 1905, the critic Louis Vauxcelles disparaged the painters as " fauves" (wild beasts), thus giving their movement the name by which it became known, Fauvism. Russell was an Impressionist painter Matisse had never previously seen an Impressionist work directly, and was so shocked at the style that he left after ten days, saying, "I couldn't stand it any more." The next year he returned as Russell's student and abandoned his earth-colored palette for bright Impressionist colors, later stating, "Russell was my teacher, and Russell explained color theory to me." Russell had been a close friend of Vincent van Gogh and gave Matisse a Van Gogh drawing. In 1896, Matisse, then an unknown art student, visited the artist John Russell on the island of Belle Île off the coast of Brittany. He disturbed our complacency." This source of empathy was taken away with Moreau's death in 1898, but the artists discovered other catalysts for their development. Matisse said of him, "He did not set us on the right roads, but off the roads. Moreau's broad-mindedness, originality and affirmation of the expressive potency of pure color was inspirational for his students. Gustave Moreau was the movement's inspirational teacher a controversial professor at the École des Beaux-Arts in Paris and a Symbolist painter, he taught Matisse, Marquet, Manguin, Rouault and Camoin during the 1890s, and was viewed by critics as the group's philosophical leader until Matisse was recognized as such in 1904. Origins Īndré Derain, 1906, Charing Cross Bridge, London, National Gallery of Art, Washington, D.C. Some of the Fauves were among the first avant-garde artists to collect and study African and Oceanic art, alongside other forms of non-Western and folk art, leading several Fauves toward the development of Cubism. So, put in yellow this shadow, rather blue, paint it with pure ultramarine these red leaves? Put in vermilion."įauvism has been compared to Expressionism, both in its use of pure color and unconstrained brushwork. "How do you see these trees? They are yellow.
In 1888 Gauguin had said to Paul Sérusier: Other key influences were Paul Cézanne and Paul Gauguin, whose employment of areas of saturated color-notably in paintings from Tahiti-strongly influenced Derain's work at Collioure in 1905. Fauvism can be classified as an extreme development of Van Gogh's Post-Impressionism fused with the pointillism of Seurat and other Neo-Impressionist painters, in particular Paul Signac. The paintings of the Fauves were characterized by seemingly wild brush work and strident colors, while their subject matter had a high degree of simplification and abstraction. Press clipping, Les Fauves: Exhibition at the Salon d'Automne, in L'Illustration, 4 November 1905īesides Matisse and Derain, other artists included Robert Deborne, Albert Marquet, Charles Camoin, Louis Valtat, Jean Puy, Maurice de Vlaminck, Henri Manguin, Raoul Dufy, Othon Friesz, Georges Rouault, Jean Metzinger, Kees van Dongen and Georges Braque (subsequently Picasso's partner in Cubism).
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