DOCSLIB.ORG

Portrait of Vlaminck, 1905 (Derain) Vlaminck As a Fauvist

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Portrait of Vlaminck, 1905 (Derain) Vlaminck As a Fauvist Fauvism The Wild Beasts • The Salon d’Automne in Paris (1905) • Term “fauves” (wild beasts) first used by art critic • Most wanted pleasant or subdued scenes for wall art • Found paint application unpleasant A New Century • Experimentation in all areas • New art styles evolved rapidly • Continued pressure to be part of an artistic tradition Paris, 1900 FAUVISM • • • • • • • Fauvism is a movement in French painting that revolutionized the concept of color in modern art. • The fauves rejected the impressionist palette of soft, shimmering tones in favor of new style, full of violent color and bold distortions. • Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only three years, 1905–1908, and had three exhibitions. • The leaders of the movement were Henri Matisse and André Derain. A Movement (sort of) • Originally based on a series of friendships • Never used term “fauve” themselves • Differing styles • Connected by common techniques and concepts The Gypsy, Reclining 1906 Nude, 1906 (Matisse) (Vlaminck) Characteristics • Exaggerated, vibrant color • Use of contrasting colors to create volume and structure • Broad brushstrokes • Moderately thick paint application Boats at Collioure Harbor, 1905 (Derain) The Idea Behind the Color • Color as the subject (independent of natural appearance) • Art as vehicle for artist’s emotions • Not just piece of art, a journey • Painting autonomous creation • All pictorial elements realized with color • Not represent perceptual world, take viewer beyond reality Fauvism’s Influence • Made impression on artists, from many different countries, that were drawn to Paris during period of development • Liberated use of color for future movements • Freed painting from serving symbolic or narrative ends • Extended boundaries of representation • Techniques adopted and developed by German Expressionists Influences Artists: - Gustave Moreau - Van Gogh - Cézanne - Seurat Movements: - Impressionism - Post-Impressionism Different Cultures: - African Sculpture Henri Matisse – Self Portrait Characteristics (cont.) • Simplified drawing • Solid planes of color • A source of light • Subject matter: - portrait - still life - landscape - cityscape Portrait of Madame Matisse/The Green Line, 1905 (Matisse) Henri Matisse (1869-1954) • Studied law • Began painting at the age of twenty • Sculptor • Studied under Moreau • Focused on tradition (accepted styles) • Found moderate success Portrait of Matisse, 1905 (Derain) La Desserte, 1896-97 (Matisse) Dinner Table - Henri Matisse A work highly traditional on the face of it, but one of his complicated and carefully constructed to that date. This painting, although in tone revealed in its luminosity an interest in the impressionists, and in its abruptly titled table that crowds and contracts the space of the picture. Matisse as a Fauve • The “chief fauve” • 1905: Matisse and Derain in Collioure • Preferred the female form (portraits and nudes) • Felt if he intensified the color, he must reduce amount of detail (shapes and form) The Open Window, Collioure, 1905 (Matisse) Open Window – Henri Matisse Open Window is the view of the garden with boats at the port, seen through the window. The background is painted in the same peach as the interior, and is there by brought into relation with the rest of the picture. The green foliage of the garden is framing the view from the window. The same dots of foliage recur at the top of the window. Bathers – Henri Matisse • In this work which went far along the path of abstraction is based on versions of the Bathers by Cezanne. • The painting was the first major example of a type of figure-landscape composition. Woman with a Hat, 1905 (Matisse) Henri Matisse: Woman with a Hat Woman with a Hat is an oil on canvas by Henri Matisse from 1905. It is believed that the woman in the painting was Matisse's wife. It was exhibited with the work of other artists, now known as "Fauves" at the 1905 Salon d'Automne. Matisse’s Art After Fauvism • Created simplified forms against flat planes of color • Experimented briefly with Cubism • More interest in sculpture • Collage Blue Nude III, 1952 (Matisse) André Derain (1880-1954) • Born in Chatou, a favorite haunt of the Impressionists • Parents didn’t approve of painting as profession (chose engineering) • Met Matisse in 1899; Vlaminck in 1900 • Served in the military • Soon after, began studying art Portrait of Derain, 1905 (Matisse) Derain as a Fauvist • Despite enthusiasm for color, still influenced by a more ordered/traditional concept of painting • Fauvist style showcased in series of London paintings, commissioned in 1906 • Went to extremes of Collioure, 1905 (Derain) intensity and anti- naturalism London Bridge, 1906 (Derain) Derain’s Art After Fauvism • Experimented with cubism • By the 1920s, style was increasingly Neoclassical • Destroyed many fauvist pieces; rarely dated paintings and changed the ones he did • Theatrical design Le Nez de Cleopatre, 1922. Written by Georges Gabory. • Book illustrations Maurice de Vlaminck (1876-1958) • Served in the military • Was a competitive cyclist, musician, actor, and novelist • Self-taught artist • Liked to boast about his contempt for museums • Met Derain in 1900 (introduced to Matisse) Portrait of Vlaminck, 1905 (Derain) Vlaminck as a Fauvist • Impulsive style • Short, choppy brushstrokes • Like other Fauves, not all use of color was “pure” (example: The Red Trees) • Experimented with pointillism Portrait of Derain, 1906 (Vlaminck) The Red Trees, 1908 (Vlaminck) Vlaminck Maurice de Vlaminck • Vlaminck's work exploded with bold new color and brushwork after he saw the paintings of Matisse and Derain. • In his heavily textured brush paintings the color becomes generally tonal; the effect is of threatening skies over a road winding through a desolate countryside. • The formula ultimately arrived at by vlaminck proved highly effective, skillfully presented, and charged with emotion. Vlaminck Still life - Vlaminck Vlaminck’s Art After Fauvism • Influenced by showing of Cezanne’s work • Introduced darker shades into overall tone • Moved to the country to paint landscapes • Eventually moved away from Cezanne’s influence, to more Classical construction Self-Portrait, 1910 (Vlaminck) Fauvism Draws to a Close • Lost momentum by 1908 • Environment of experimentation also meant styles quickly developed, then were often quickly modified or abandoned • Nearly all of the Fauves branched out from Fauvism Paysage a Cassis, 1907 (Derain) Georges Rouault Georges Henri Rouault was a French Fauvist and Expressionist .His use of stark contrasts and emotionality is credited to the influence of Vincent van Gogh. In 1907, Rouault commenced a series of paintings dedicated to courts, clowns and prostitutes. These paintings are interpreted as moral and social criticism. Jesus – Georges Rouault Head of a Tragic Clown – Georges Rouault .
Load more

Recommended publications
  • Karl Wolf-Into the Woods-Fauvism Landscape Leaaon Plan
    Legends Legacies & connectionsFROM THE PERMANENT COLLECTION KarlWolf Into The Woods: Fauvist Landscapes THE KELLY Kelly Fitzpatrick Memorial Gallery P. O. Box 641, Wetumpka, AL 36092 | 408 S. Main St., Wetumpka, AL 36092 | Web: thekelly.org | Email: [email protected] Karl Wolf, 1904-1984 The Dixie Art Colony, 1940, Watercolor on Paper, 20” x 14.” Gift of Elizabeth "Bebe" Wolfe, 2015 Acquisition Karl Wolfe was born in Brookhaven, Mississippi in the year 1904. He was the oldest son of Wiley Wilson Wolfe and Elizabeth Heuck. He was still a boy when his family moved to Columbia Mississippi. Karl graduated from the Columbia High School and went to Soule Business College in New Orleans where he studied bookkeeping. He later was accepted to the Chicago Art Institute, graduating in 1928. In his last year of study he won the William R French Traveling Scholarship, and spent the next year traveling and studying in Europe. Karl met his future wife, Mildred Nungester, at the Dixie Art Colony, near Montgomery, Alabama in the 1930’s. Karl and Mildred were friends and colleagues for many years before they married in 1944. In 1942 Karl was drafted into the Army Air Corps and spent the War years at Lowry Field in Colorado, assigned to work as a photographer. After the war Karl and Mildred returned to Jackson, Mississippi, where Karl had begun to establish a clientele before the war. They homesteaded on land Karl had bought before the war, built and shared a studio there and raised a family. Karl became an accomplished and widely respected portrait painter.
    [Show full text]
  • Cézanne and the Modern: Masterpieces of European Art from the Pearlman Collection
    Cézanne and the Modern: Masterpieces of European Art from the Pearlman Collection Paul Cézanne Mont Sainte-Victoire, c. 1904–06 (La Montagne Sainte-Victoire) oil on canvas Collection of the Henry and Rose Pearlman Foundation, on long-term loan to the Princeton University Art Museum TEACHER’S STUDY GUIDE WINTER 2015 Contents Program Information and Goals .................................................................................................................. 3 Background to the Exhibition Cézanne and the Modern ........................................................................... 4 Preparing Your Students: Nudes in Art ....................................................................................................... 5 Artists’ Background ...................................................................................................................................... 6 Modern European Art Movements .............................................................................................................. 8 Pre- and Post-Visit Activities 1. About the Artists ....................................................................................................................... 9 Artist Information Sheet ........................................................................................................ 10 Modern European Art Movements Fact Sheet .................................................................... 12 Student Worksheet ...............................................................................................................
    [Show full text]
  • Matisse Dance with Joy Ebook
    MATISSE DANCE WITH JOY PDF, EPUB, EBOOK Susan Goldman Rubin | 26 pages | 03 Jun 2008 | CHRONICLE BOOKS | 9780811862882 | English | San Francisco, United States Matisse Dance with Joy PDF Book Sell your art. Indeed, Matisse, with its use of strong colors and long, curved lines will initially influenced his acolytes Derain and Vlaminck, then expressionist and surrealist painters same. Jun 13, Mir rated it liked it Shelves: art. He starts using this practice since the title, 'Tonight at Noon' as it is impossible because noon can't ever be at night as it is during midday. Tags: h mastisse, matisse henri, matisse joy of life, matisse goldfish, matisse for kids, matisse drawing, drawings, artsy, matisse painting, henri matisse paintings, masterpiece, artist, abstract, matisse, famous, popular, vintage, expensive, henri matisse, womens, matisse artwork. Welcome back. Master's or higher degree. Matisse had a daughter with his model Caroline Joblau in and in he married Amelie Noelie Parayre with whom he raised Marguerite and their own two sons. Henri Matisse — La joie de vivre Essay. Tags: matisse, matisse henri, matisse art, matisse paintings, picasso, picasso matisse, matisse painting, henri matisse art, artist matisse, henri matisse, la danse, matisse blue, monet, mattise, matisse cut outs, matisse woman, van gogh, matisse moma, moma, henry matisse, matisse artwork, mattisse, henri matisse painting, matisse nude, matisse goldfish, dance, the dance, le bonheur de vivre, joy of life, the joy of life, matisse joy of life, bonheur de vivre, the joy of life matisse. When political protest is read as epidemic madness, religious ecstasy as nervous disease, and angular dance moves as dark and uncouth, the 'disorder' being described is choreomania.
    [Show full text]
  • Site/Non-Site Explores the Relationship Between the Two Genres Which the Master of Aix-En- Provence Cultivated with the Same Passion: Landscapes and Still Lifes
    site / non-site CÉZANNE site / non-site Guillermo Solana Museo Thyssen-Bornemisza, Madrid February 4 – May 18, 2014 Fundación Colección Acknowledgements Thyssen-Bornemisza Board of Trustees President The Museo Thyssen-Bornemisza Hervé Irien José Ignacio Wert Ortega wishes to thank the following people Philipp Kaiser who have contributed decisively with Samuel Keller Vice-President their collaboration to making this Brian Kennedy Baroness Carmen Thyssen-Bornemisza exhibition a reality: Udo Kittelmann Board Members María Alonso Perrine Le Blan HRH the Infanta Doña Pilar de Irina Antonova Ellen Lee Borbón Richard Armstrong Arnold L. Lehman José María Lassalle Ruiz László Baán Christophe Leribault Fernando Benzo Sáinz Mr. and Mrs. Barron U. Kidd Marina Loshak Marta Fernández Currás Graham W. J. Beal Glenn D. Lowry HIRH Archduchess Francesca von Christoph Becker Akiko Mabuchi Habsburg-Lothringen Jean-Yves Marin Miguel Klingenberg Richard Benefield Fred Bidwell Marc Mayer Miguel Satrústegui Gil-Delgado Mary G. Morton Isidre Fainé Casas Daniel Birnbaum Nathalie Bondil Pia Müller-Tamm Rodrigo de Rato y Figaredo Isabella Nilsson María de Corral López-Dóriga Michael Brand Thomas P. Campbell Nils Ohlsen Artistic Director Michael Clarke Eriko Osaka Guillermo Solana Caroline Collier Nicholas Penny Marcus Dekiert Ann Philbin Managing Director Lionel Pissarro Evelio Acevedo Philipp Demandt Jean Edmonson Christine Poullain Secretary Bernard Fibicher Earl A. Powell III Carmen Castañón Jiménez Gerhard Finckh HSH Prince Albert II of Monaco Giancarlo Forestieri William Robinson Honorary Director Marsha Rojas Tomàs Llorens David Franklin Matthias Frehner Alejandra Rossetti Peter Frei Katy Rothkopf Isabel García-Comas Klaus Albrecht Schröder María García Yelo Dieter Schwarz Léonard Gianadda Sir Nicholas Serota Karin van Gilst Esperanza Sobrino Belén Giráldez Nancy Spector Claudine Godts Maija Tanninen-Mattila Ann Goldstein Baroness Thyssen-Bornemisza Michael Govan Charles L.
    [Show full text]
  • Albert Marquet and the Fauve Movement, 1898-1908
    Digitized by the Internet Archive in 2010 with funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/albertmarquetfauOOjudd ALBERT MARQUET AND THE FAirVE MOVEMENT 1898 -1908 by Norrls Judd A thesis submitted to the Faculty of the Department of Art History in partial fulfillment of the requirements for Senior Honors in Art History. ^5ay 1, 1976 /JP 1^1 Iff TABLE OF CONTENTS Page Introduction ...............< 1 I The Fauve Movement Definition of Fauvism, • 3 The Origins of the Fauve Movement 5 The Leaders of the Fauve Group 11 1905: The Crucial Year, Salon Exhibitions and Critical Reactions 26 Fauve Paintings of 1905 34 Critical Reaction to Fauvism.. 41 Denouement 45 II Albert Marquet Bordeaux: Origins 49 Paris: 1890 - 1898 50 Years of Activity with the Fauve Group: 1899-1908 Marquet and Matisse, 1898 - 1905 54 Marquet and Dufy, 1906. 78 Marquet, 1907-1908 83 Marquet: 1903-1910 87 III Summary 89 IV Footnotes 93 V Appendix Marquet Speaks on His Art 116 List of Reproductions 117 Photocopies of Selected Reproductions i 123 VI Bibl iography 142 Note: An asterisk will appear by a plate reference if the reproduction also appears in photocopy in the appendix. il ALBERT MARQUET AND THE FAUVE MOVEMENT 1898 - 1908 INTRODUCTION In 1905, when a group of violently coloured paintings was displayed at the Salon d'Automne, there were varying reactions from the critics. Some were outraged, others merely amused. At that time only a few of the critics were aware of the importance of the event. Even fewer critics realized that the special characteristics of these paintings would have a decisive influence on the future development of Gortain futur e twentieth century art.
    [Show full text]
  • Or, a Short Catalogue of Modern Art Books
    Rootenberg Rare Books & Manuscripts Presents: Throwing Paint at the Fan; Or, A Short Catalogue of Modern Art Books 2. BUTOR 1. BASLER, Adolphe Maurice Utrillo. Paris: Les Éditions Braun & Cie, 1931. 4to. 96pp. Plates in black and white. Paper wrapper with original glassine dust- jacket. In excellent condition. First edition of this biography of the French artist Mauris Utrillo (1883–1955), who was known for his use of impasto and un- conventional materials like plaster and cement to render scenes of ur- ban life. A deeply troubled individual, Utrillo’s paintings are shrouded in melancholy. Basler (1876–1951) was an art critique and gallery owner who wrote many short works about modern artists including Henri Ma- tisse, Pierre-Auguste Renoir, and Utrillo’s mother, Suzanne Valadon. $ 40.00 2. BUTOR, Michel Cycle: sur neuf goauches d’alexandre calder. Paris : La Hune, 1962. 8vo, oblong. Unpaginated [18 pp]. 9 small and one full-page plate of black and white reproductions. Black paper cover with cut-outs revealing a red circle and Calder’s name on the title-page. In excellent condition. First edition of this experimental catalogue of the exhibition of gouache paintings by Alexander Calder at the La Hune Library and Gallery in Paris in June 1962. Calder (1898–1976) was an American artist and innovator in kinetic art known for his mobiles. Each of the reproductions of the paintings is accompanied by a poem by Michel Butor (1926–2016), a French author known for his free and experi- mental verse. $200.00 3. CASSOU, Jean Serge Poliakoff. Amriswil: Bodensee-Verlag, 1963.
    [Show full text]
  • Henri Matisse French, 1869–1954
    Matisse/Diebenkorn (Drawings Gallery, Large Extended label, 12 x 9 in) Henri Matisse French, 1869–1954 Sarah Stein 1916 Oil on canvas San Francisco Museum of Modern Art, Sarah and Michael Stein Memorial Collection, gift of Elise S. Haas Diebenkorn saw this portrait and many more paintings by Matisse at Sarah Stein’s Palo Alto home in 1943. Stein, a native San Franciscan, had moved to Paris with her husband, Michael, and their young son in 1904. They began to acquire Matisse’s work the following year and quickly became his most passionate early supporters, as well as close personal friends. When they returned from France to the Bay Area in 1935—the year this museum was founded—they brought their substantial collection of modern art with them. Extended Label @ 80% of VEL size 9 inches wide 150 words 21/26 pt SFMOMA Matisse/Diebenkorn (Drawings Gallery, Large Extended label, 12 x 9 in) Richard Diebenkorn American, 1922–1993 Urbana #4 1953 Oil on canvas Colorado Springs Fine Arts Center, gift of Julianne Kemper Gilliam After taking a teaching position at the University of Illinois at Urbana-Champaign, Diebenkorn began to use color more expressively than ever before. In part, the palettes he explored in works such as Urbana #4 may have been reactions against the gray light of his new home. But they were also clearly inspired by his growing experience of Matisse’s paintings and his developing sense of how to apply what he saw in them to his own canvases. Extended Label @ 80% of VEL size 9 inches wide 150 words 21/26 pt SFMOMA Matisse/Diebenkorn (Drawings Gallery, Large Extended label, 12 x 9 in) Henri Matisse French, 1869–1954 Studio, Quai Saint-Michel 1916 Oil on canvas The Phillips Collection, Washington, D.C.
    [Show full text]
  • The Ambiguity of Perception and the Paintings of Paul Cézanne Author(S): Joyce Brodsky Source: Artibus Et Historiae, Vol
    A Paradigm Case for Merleau-Ponty: The Ambiguity of Perception and the Paintings of Paul Cézanne Author(s): Joyce Brodsky Source: Artibus et Historiae, Vol. 2, No. 4 (1981), pp. 125-134 Published by: IRSA s.c. Stable URL: https://www.jstor.org/stable/1483119 Accessed: 17-11-2018 16:51 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms IRSA s.c. is collaborating with JSTOR to digitize, preserve and extend access to Artibus et Historiae This content downloaded from 204.147.202.25 on Sat, 17 Nov 2018 16:51:02 UTC All use subject to https://about.jstor.org/terms JOYCE BRODSKY A Paradigm Case for Merleau-Ponty: the Ambiguity of Perception and the Paintings of Paul C6zanne Paul C6zanne does not readily come to mind when paintings one and in particular the self-portraits4. first encounters some of Merleau-Ponty's key phrases C6zanne's like self-portraits are in part recordings of con- "being-in-the world" and the "lived Body"'. The frontationpainter and encounter with the nature of things as other. was terrified of women, desperately afraid of "anyone They are get- the least understood and least explored of all his ting their hooks into him", and so easily bruised that he genres as a result of being neither mimetic-commemorative often even avoided contact with his friends.
    [Show full text]
  • Artcurial | Livres Et Manuscrits | 15.12.2010 | Hôtel Marcel Dassault
    1886 14 & 15 DÉCEMBRE 2010 – PARIS LIVRES ET MANUSCRITS LIVRES ET MANUSCRITS MARDI 14 DÉCEMBRE 2010 MERCREDI 15 DÉCEMBRE 2010 PARIS — HÔTEL MARCEL DASSAULT 14H30 Détail du lot n° 108 maquette livres artcurial 5.indd 1 16/11/10 22:58:40 ARTCURIAL BRIEST – P O U LAIN – F.TAJAN Hôtel Marcel Dassault 7, Rond-Point des Champs-Élysées 75008 Paris LIVRES ET MANUSCRITS ASSOCIÉS VENTE 1886 EXPOSITIONS PUBLIQUES : Francis Briest, Co-Président Téléphone pendant l’exposition Vendredi 10 décembre Hervé Poulain +33 (0)1 42 99 16 49 de 11h à 19h François Tajan, Co-Président Commisaire priseur Samedi 11 décembre François Tajan de 11h à 19h DIRECTEURS ASSOCIÉS Dimanche 12 décembre Spécialiste junior de 11h à 19h Violaine de La Brosse-Ferrand Benoît Puttemans Martin Guesnet +33 (0)1 42 99 16 49 Lundi 13 décembre Fabien Naudan [email protected] de 11h à 17h VENTE I Experts 14 DÉCEMBRE À 14H30, Olivier Devers LOTS 1 À 420 +33 (0)1 42 99 16 12 [email protected] VENTE II 15 DÉCEMBRE À 14H30, Thierry Bodin LOTS 421 À 717 Pour les lots 4, 6, 13, 14, 19, 20, 22, 30, 32, 43, 48, 51, 52, 54, 60, 70, 75, Catalogue visible sur internet 77, 78, 79, 85, 95, 96, 105, 116. www.artcurial.com +33 (0)1 45 48 25 31 [email protected] Comptabilité vendeurs et acheteurs Marion Carteirac +33 (0)1 42 99 20 44 [email protected] Ordres d’achat, enchères par téléphone Anne-Sophie Masson +33 (0)1 42 99 20 51 [email protected] Détail du lot n° 256 illustration de couverture : détail du lot n° 290 2 Livres et manuscrits — 14–15 DÉCEMBRE 2010, 14H30.
    [Show full text]
  • Annual Report 2005
    NATIONAL GALLERY BOARD OF TRUSTEES (as of 30 September 2005) Victoria P. Sant John C. Fontaine Chairman Chair Earl A. Powell III Frederick W. Beinecke Robert F. Erburu Heidi L. Berry John C. Fontaine W. Russell G. Byers, Jr. Sharon P. Rockefeller Melvin S. Cohen John Wilmerding Edwin L. Cox Robert W. Duemling James T. Dyke Victoria P. Sant Barney A. Ebsworth Chairman Mark D. Ein John W. Snow Gregory W. Fazakerley Secretary of the Treasury Doris Fisher Robert F. Erburu Victoria P. Sant Robert F. Erburu Aaron I. Fleischman Chairman President John C. Fontaine Juliet C. Folger Sharon P. Rockefeller John Freidenrich John Wilmerding Marina K. French Morton Funger Lenore Greenberg Robert F. Erburu Rose Ellen Meyerhoff Greene Chairman Richard C. Hedreen John W. Snow Eric H. Holder, Jr. Secretary of the Treasury Victoria P. Sant Robert J. Hurst Alberto Ibarguen John C. Fontaine Betsy K. Karel Sharon P. Rockefeller Linda H. Kaufman John Wilmerding James V. Kimsey Mark J. Kington Robert L. Kirk Ruth Carter Stevenson Leonard A. Lauder Alexander M. Laughlin Alexander M. Laughlin Robert H. Smith LaSalle D. Leffall Julian Ganz, Jr. Joyce Menschel David O. Maxwell Harvey S. Shipley Miller Diane A. Nixon John Wilmerding John G. Roberts, Jr. John G. Pappajohn Chief Justice of the Victoria P. Sant United States President Sally Engelhard Pingree Earl A. Powell III Diana Prince Director Mitchell P. Rales Alan Shestack Catherine B. Reynolds Deputy Director David M. Rubenstein Elizabeth Cropper RogerW. Sant Dean, Center for Advanced Study in the Visual Arts B. Francis Saul II Darrell R. Willson Thomas A.
    [Show full text]
  • Date: March 7, 2012 EI Presenter: Helene-Carole Brown Fauvism In
    Date: March 7, 2012 EI Presenter: Helene-Carole Brown Fauvism In the latter part of the Nineteenth Century, Henri Emile Benoit Matisse (1869-1954) who was practicing law, developed appendicitis. While at home recuperating from the attack, his mother bought Henri a set of paints, some canvasses, and some brushes. Matisse had always drawn well, and his mother thought art would be a good form of rest and relaxation for the recovering lawyer. By the time Henri had finished his convalescence, he had decided that he no longer wished to practice law, but instead wished to be an artist. Matisse enrolled at the Ecole des Beaux Arts in Paris and began painting in very traditional style. Not long after, he met an avant garde and somewhat controversial teacher named Russell. Russell liked and collected the works of the Impressionists and Expressionists. This was not the accepted view of the other instructors at the Ecole des Beaux Arts. Russell invited Henri to visit his country house and see his collection. At first Matisse was overwhelmed by the new art forms. Soon, however, Matisse developed great admiration for the new forms and especially liked Cezanne and Van Gogh. Russell gave Henri a drawing by Van Gogh, which Matisse treasured for the rest of his life. Matisse also met Pissarro, whose work he admired, and formed a group with some other new- style artists: Maurice de Vlaminck, Andre Derain, Raoul Dufy, Georges Rouault, and briefly, Georges Braque. Several were influenced by African, Tahitian and South American masks, and all were said to be “drunk with color”.
    [Show full text]
  • Boundaries in Modern Representations of Bathers: an Assault on Male Sexual Pleasure
    Boundaries in Modern Representations of Bathers: An Assault on Male Sexual Pleasure Christophe Viret Water, the origin of life on earth, is the most universal symbol of fertility known to man. Every living organism depends on water for survival; water’s nurturing qualities associate it with the female body, which bears and nurtures children, populating humanity. Depictions of the nude female form immersed in water have recurred in Euro- pean artwork: drawing the female nude was considered to be the most venerable form of art by the French Academy, which led the European art world for much of the eighteenth and nineteenth centuries. Until the late nineteenth century, visions of female nudes frolicking in water dominated the romanticized, and seductive, act of bathing. In the late nineteenth and early twentieth centuries, though, by breaking down the academic representations of bathers and their purpose to delight the male viewer’s eyes, modern artists brought the assumption of male pleasure when viewing nudes under assault. I. Fragonard, The Bathers, 1765 The female nudes in Fragonard’s The Bathers are intended to arouse the male viewer without either distancing him from them or drawing him into the painting. The Bathers was a part of the rococo movement based around the Enlightenment philosophy that the purpose of life might be to enjoy our time on earth instead of attempting to merit entrance into heaven. The American Declaration of Independence, a document that was written based on this Enlightenment ideal, stated that “all men are…endowed by their creator with certain unalienable rights,” amongst which are “life, liberty, and the pursuit of happiness.”1 Hence, rococo paintings are often “dominated by a simple and beauti- ful nature where appeased passions would leave room for pure love,” propagating an idealized “dream of happiness.”2 Both of these state- This paper was written for Rebecca Gertmenian’s Nineteenth and Twentieth Century Art elective in the fall of 2010.
    [Show full text]