Fauvism 1902 - Onwards
Influenced
Fauvists were very much influenced by the Post - Impressionists' use of colour and technique. Through Paul Gaugin's application of flat colour, Geoges Seurat's manipulation of unmixed pure colours, Vincent Van Gogh's short brush strokes, symbolic use of colour and a dark outline on the figures, Fauvists were able to incorporate all ideas from the great artists to create a new era in Modern Art.
Aim/Intention
The main intention in Fauvism is to bring emotion through strong effect and bold treatment of colours. They liberated and intensified approach to colour whilst reduced detail to subject matter.
Characteristics
Fauvists favoured landscapes and seascapes as their subject matter, and sometimes leisure activities. They rejected the representation of realistic colours and favoured arbitrary, unrealistic colours. Artists use primed canvas with white to contrast with bright colours and separated colours, allowing the canvas to show through. The Fauvists used pure and brilliant paint colours straight from the paint tubes and applied it in an aggressive and direct many to create 'an explosion on canvas'. Brushwork was very visible and had a painterly quality as they were loosely applied and often exposing the canvas.
Henri Matisse - Leader of Fauvism, he began the art movement in South France. He depicted form and shape by juxtaposing pure areas of colour whilst outlining the figure. He incorporates flat colours and lacks in detail.
Andre Derain - Paints sun-drenched landscapes. He applies rough brushstrokes and conflict warm and cool colours
Maurice de Vlaminck - Greatly inspired by Van Gogh he incorporates the use of colour in emotions.
Fauvists were very much influenced by the Post - Impressionists' use of colour and technique. Through Paul Gaugin's application of flat colour, Geoges Seurat's manipulation of unmixed pure colours, Vincent Van Gogh's short brush strokes, symbolic use of colour and a dark outline on the figures, Fauvists were able to incorporate all ideas from the great artists to create a new era in Modern Art.
Aim/Intention
The main intention in Fauvism is to bring emotion through strong effect and bold treatment of colours. They liberated and intensified approach to colour whilst reduced detail to subject matter.
Characteristics
Fauvists favoured landscapes and seascapes as their subject matter, and sometimes leisure activities. They rejected the representation of realistic colours and favoured arbitrary, unrealistic colours. Artists use primed canvas with white to contrast with bright colours and separated colours, allowing the canvas to show through. The Fauvists used pure and brilliant paint colours straight from the paint tubes and applied it in an aggressive and direct many to create 'an explosion on canvas'. Brushwork was very visible and had a painterly quality as they were loosely applied and often exposing the canvas.
Henri Matisse - Leader of Fauvism, he began the art movement in South France. He depicted form and shape by juxtaposing pure areas of colour whilst outlining the figure. He incorporates flat colours and lacks in detail.
Andre Derain - Paints sun-drenched landscapes. He applies rough brushstrokes and conflict warm and cool colours
Maurice de Vlaminck - Greatly inspired by Van Gogh he incorporates the use of colour in emotions.
Sample Essay - Boats at Collioure's Harbour by Andre Derain (Technique Analysis)
Andre Derain’s “Boats at Collioure’s Harbour” 1905 is an oil on canvas that depicts a classical fauvism seascape through the aggressive application of vivid colours and broken-textured brushstrokes in order to capture an intense atmospheric moment.
Through the vivid and peculiar use of colour, Derain portrays the intensity of the heat along the shore, utilising bold, unnatural shades of saturated red to emphasise the warmth. Derain applies layers of broken brushstrokes to accentuate the coarseness of the surface of the sand, and also a harsh and dissonant effect from the undirected fragmented strokes of paint. The application of long fluid brushstrokes distinguishes the boat’s form ad shape from the sand, whilst the complementing hue of blue and yellow are manipulated to form a stark juxtaposition between the boats and the surface.
Scattered and fragmented brushstrokes are used to delineate the expanse of the sea, and through the shades of green and blue Andre Derain Manipulates a sense of coolness and tranquillity, which complement the scorching heat of the shores; rippling, glistening water is exemplified through the exposure of the blank canvas. Linear strokes of crisp dark blue are situated on the edge of the shore, east from the centre, to create a sense of depth and distance. The boats floating along the sea are painted in a rudimentary and loose method, forming an impression of the boats in a distant.
Long fluid brushstrokes are applied to “stretch” the mountain range across the horizon of the composition, whilst orange and chrome pink colours are used to reflect the heat and sun scorched landscape. The sky is painted from the intense yellow shading inexplicably into dappled expanse of green hues, and through the short compact brushwork, Derain creates a distinctive difference between the ocean and the sky. Derain exposes the canvas located in the centre to create an implication of the sun’s presence, burning through the canvas.
Through the vivid and peculiar use of colour, Derain portrays the intensity of the heat along the shore, utilising bold, unnatural shades of saturated red to emphasise the warmth. Derain applies layers of broken brushstrokes to accentuate the coarseness of the surface of the sand, and also a harsh and dissonant effect from the undirected fragmented strokes of paint. The application of long fluid brushstrokes distinguishes the boat’s form ad shape from the sand, whilst the complementing hue of blue and yellow are manipulated to form a stark juxtaposition between the boats and the surface.
Scattered and fragmented brushstrokes are used to delineate the expanse of the sea, and through the shades of green and blue Andre Derain Manipulates a sense of coolness and tranquillity, which complement the scorching heat of the shores; rippling, glistening water is exemplified through the exposure of the blank canvas. Linear strokes of crisp dark blue are situated on the edge of the shore, east from the centre, to create a sense of depth and distance. The boats floating along the sea are painted in a rudimentary and loose method, forming an impression of the boats in a distant.
Long fluid brushstrokes are applied to “stretch” the mountain range across the horizon of the composition, whilst orange and chrome pink colours are used to reflect the heat and sun scorched landscape. The sky is painted from the intense yellow shading inexplicably into dappled expanse of green hues, and through the short compact brushwork, Derain creates a distinctive difference between the ocean and the sky. Derain exposes the canvas located in the centre to create an implication of the sun’s presence, burning through the canvas.