I love Matisse!
The whole era fascinated me, when Matisse was both painting and exhibiting.
Fauvism as a style began around 1900 and continued beyond 1910. The movement as such lasted only a few years, 1904–1908, and had three exhibitions. The leaders of the movement were Matisse and André Derain. Matisse's first solo exhibition was at Ambroise Vollard's gallery in 1904, without much success. His fondness for bright and expressive colour became more pronounced after he spent the summer of 1904 painting in St. Tropez with the neo-Impressionists Signac and Henri-Edmond Cross. In that year, he painted the most important of his works in the neo-Impressionist style, Luxe, Calme et Volupté. In 1905, he travelled southwards again to work with André Derain at Collioure. His paintings of this period are characterised by flat shapes and controlled lines, using pointillism in a less rigorous way than before.
Matisse and a group of artists now known as "Fauves" exhibited together in a room at the Salon d'Automne in 1905. The paintings expressed emotion with wild, often dissonant colours, without regard for the subject's natural colours. Matisse showed Open Window and Woman with the Hat at the Salon. Critic Louis Vauxcelles commented on a lone sculpture surrounded by an "orgy of pure tones" as "Donatello chez les fauves" (Donatello among the wild beasts), referring to a Renaissance-type sculpture that shared the room with them. His comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and passed into popular usage. The exhibition garnered harsh criticism—"A pot of paint has been flung in the face of the public", said the critic Camille Mauclair—but also some favourable attention. When the painting that was singled out for special condemnation, Matisse's Woman with a Hat, was bought by Gertrude and Leo Stein, the embattled artist's morale improved considerably.
Matisse was recognised as a leader of the Fauves, along with André Derain; the two were friendly rivals, each with his own followers. Other members were Georges Braque, Raoul Dufy, and Maurice de Vlaminck. The Symbolist painter Gustave Moreau (1826–1898) was the movement's inspirational teacher. As a professor at the École des Beaux-Arts in Paris, he pushed his students to think outside of the lines of formality and to follow their visions.
In 1907, Guillaume Apollinaire, commenting about Matisse in an article published in La Falange, wrote, "We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable." But Matisse's work of the time also encountered vehement criticism, and it was difficult for him to provide for his family. His painting Nu bleu (1907) was burned in effigy at the Armory Show in Chicago in 1913.
The decline of the Fauvist movement after 1906 did not affect the career of Matisse; many of his finest works were created between 1906 and 1917, when he was an active part of the great gathering of artistic talent in Montparnasse, even though he did not quite fit in, with his conservative appearance and strict bourgeois work habits. He continued to absorb new influences. He travelled to Algeria in 1906 studying African art and Primitivism. After viewing a large exhibition of Islamic art in Munich in 1910, he spent two months in Spain studying Moorish art. He visited Morocco in 1912 and again in 1913 and while painting in Tangier he made several changes to his work, including his use of black as a colour. The effect on Matisse's art was a new boldness in the use of intense, unmodulated colour, as in L'Atelier Rouge (1911).
Matisse had a long association with the Russian art collector Sergei Shchukin. He created one of his major works La Danse specially for Shchukin as part of a two painting commission, the other painting being Music, 1910. An earlier version of La Danse (1909) is in the collection of The Museum of Modern Art in New York City.
Fauvism as a style began around 1900 and continued beyond 1910. The movement as such lasted only a few years, 1904–1908, and had three exhibitions. The leaders of the movement were Matisse and André Derain. Matisse's first solo exhibition was at Ambroise Vollard's gallery in 1904, without much success. His fondness for bright and expressive colour became more pronounced after he spent the summer of 1904 painting in St. Tropez with the neo-Impressionists Signac and Henri-Edmond Cross. In that year, he painted the most important of his works in the neo-Impressionist style, Luxe, Calme et Volupté. In 1905, he travelled southwards again to work with André Derain at Collioure. His paintings of this period are characterised by flat shapes and controlled lines, using pointillism in a less rigorous way than before.
Matisse and a group of artists now known as "Fauves" exhibited together in a room at the Salon d'Automne in 1905. The paintings expressed emotion with wild, often dissonant colours, without regard for the subject's natural colours. Matisse showed Open Window and Woman with the Hat at the Salon. Critic Louis Vauxcelles commented on a lone sculpture surrounded by an "orgy of pure tones" as "Donatello chez les fauves" (Donatello among the wild beasts), referring to a Renaissance-type sculpture that shared the room with them. His comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and passed into popular usage. The exhibition garnered harsh criticism—"A pot of paint has been flung in the face of the public", said the critic Camille Mauclair—but also some favourable attention. When the painting that was singled out for special condemnation, Matisse's Woman with a Hat, was bought by Gertrude and Leo Stein, the embattled artist's morale improved considerably.
Matisse was recognised as a leader of the Fauves, along with André Derain; the two were friendly rivals, each with his own followers. Other members were Georges Braque, Raoul Dufy, and Maurice de Vlaminck. The Symbolist painter Gustave Moreau (1826–1898) was the movement's inspirational teacher. As a professor at the École des Beaux-Arts in Paris, he pushed his students to think outside of the lines of formality and to follow their visions.
In 1907, Guillaume Apollinaire, commenting about Matisse in an article published in La Falange, wrote, "We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable." But Matisse's work of the time also encountered vehement criticism, and it was difficult for him to provide for his family. His painting Nu bleu (1907) was burned in effigy at the Armory Show in Chicago in 1913.
The decline of the Fauvist movement after 1906 did not affect the career of Matisse; many of his finest works were created between 1906 and 1917, when he was an active part of the great gathering of artistic talent in Montparnasse, even though he did not quite fit in, with his conservative appearance and strict bourgeois work habits. He continued to absorb new influences. He travelled to Algeria in 1906 studying African art and Primitivism. After viewing a large exhibition of Islamic art in Munich in 1910, he spent two months in Spain studying Moorish art. He visited Morocco in 1912 and again in 1913 and while painting in Tangier he made several changes to his work, including his use of black as a colour. The effect on Matisse's art was a new boldness in the use of intense, unmodulated colour, as in L'Atelier Rouge (1911).
Matisse had a long association with the Russian art collector Sergei Shchukin. He created one of his major works La Danse specially for Shchukin as part of a two painting commission, the other painting being Music, 1910. An earlier version of La Danse (1909) is in the collection of The Museum of Modern Art in New York City.
22-25, F
