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Fauvism |
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fauvism (fō`vĭzəm) [Fr. fauve=wild beast], name derisively hurled at and cheerfully adopted by a group of French painters, including Matisse, Rouault, Derain, Vlaminck, Friesz, Marquet, van Dongen, Braque, and Dufy. Although fauvism was a short-lived movement (1905–8), its influence was international and basic to the evolution of 20th-century art. It was essentially an expressionist style, characterized by bold distortion of forms and exuberant color. Only Matisse continued to explore its possibilities after 1908. Most of the others contributed to the development of new styles, such as cubism cubism, art movement, primarily in painting, originating in Paris c.1907.
Cubist TheoryCubism began as an intellectual revolt against the artistic expression of previous eras. ..... Click the link for more information. , which immediately followed the fauvist movement. BibliographySee J. P. Crespelle, The Fauves (tr. 1962); J. É. Muller, Fauvism (1967); S. Whitfield, Fauvism (1990). FauvismStyle of painting that flourished in France c. 1898–1908, characterized by the use of intensely vivid colour and turbulent emotionalism. The dominant figure of the group was Henri Matisse; others were André Derain, Maurice de Vlaminck, Raoul Dufy, Georges Braque, and Georges Rouault. The name derives from the judgment of a critic who visited their first exhibit in Paris (1905) and referred to the artists disparagingly as “les fauves” (“wild beasts”). They were influenced by the masters of Post-Impressionism, Vincent van Gogh and Paul Gauguin. Fauvism was a transitional phase for most of the artists, who by 1908, having renewed their interest in Paul Cézanne's vision of order and structure, abandoned Fauvism for Cubism. Matisse alone continued on the course he had pioneered. |
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| Symbolism made it possible for the Fauvists and Cubists to realize that "ambitious painting" had to be "antiliterary. He painted intently, disregarding all the topical trends (the Nabis, Pointillists, Fauvists, Cubists), and declared to his astonished contemporaries, "The subject is not important to me; what I want to reproduce is what exists between the subject and me. In the early part of this century, maverick exhibitions of avant-garde art, like the one the fauvists put on in Paris in 1905 or the New York Armory Show in 1913, aroused extravagant opposition and derision. |
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