Fauvism

Landscape: Provinza by Alfred Henry Maurer, c. 1912.

Louis Valtat. Anthéor Bay, circa 1906-1907; oil on canvas, within the Fauvis period.

The fauvism, also known as fauvism (from the French fauvisme; from fauve, «beast and -ism, "movement", "tendency" or "character"), was a pictorial movement originating in France, around 1904 to 1908. It later spread to other countries, in later years. It is generally characterized by a provocative use of color. Its name comes from the expression les fauves ("the wild beasts"), given by the art critic Louis Vauxcelles to the set of works presented in Room VII of the third exhibition of the Salon d'Automne, at the Grand Palace in Paris, in 1905. He used it for the first time in his art criticism published in the newspaper Gil Blas, on October 17, 1905, in an article dedicated to the art salon.

It was a syncretic movement where characteristics of nearby artistic movements were used and included, in its spirit of transformation to return to the purity of resources,^{[citation needed]} not to be submissive to the pictorial heritage, the group wanted to go beyond what had been achieved in painting, which is why they were avant-garde.^{[citation required]}

With distinction and separation, Henri Matisse is considered by some to be the precursor or leader of this movement. On the other hand, Guillaume Apollinaire attributes the invention of Fauvism to Henri Matisse and André Derain. Another position affirms the existence of "an essential triangle of Fauvism" made up of Matisse, Derain and Maurice de Vlaminck, and that, by weakening that union, the movement gradually faded away. Another approach mentions three artists as creators of Fauvism.

Origin of name

Here are some names of artists and their paintings, which were presented at the 1905 Autumn Hall exhibition, marked as "Las Fieras". The publication is by L'Ilustration, No. 3271, November 4, 1905.

There are two versions of the origin of the qualifier for the group of artists and their works:

The first of these assumptions comes from the mention les fauves 'the beasts' to the set of works exhibited in room number VII during the Autumn Salon of 1905, where numerous works were presented and problems arose when it came to classifying and categorizing some of them with already established or accepted notions of art. It was something similar to what happened at the time with the Impressionists when a series of paintings were described as "incoherent", and their authors were excluded from the room for expressing themselves in an intense and different way. The words les fauves were part of an art criticism published in the newspaper Gil Blas, on October 17, 1905, by Louis Vauxcelles, about the works presented in the room VII:

• Au centre de la salle, un torse d’enfant, et un petit buste en marbre, d’Albert Marque, qui modèle avec un science délicate. The candeur de ces bustes surprend, au milieu del’orgie des tons purs: Donatello chez les fauves...(In the center of the room, a boy's torso and a small marble bust of Albert Marque, which modeles first and foremost. The candor of these busts surprises in the middle of the orgy of pure tones: Donatello among the beasts...).

The mention of Donatello is due to the fact that in the same room there was a Renaissance-style sculpture by the sculptor Albert Marque (not to be confused with the painter Albert Marquet). The artist had presented two sculptures: a bronze torso of a child and a portrait of Marthe Lebasque, a marble bust. With a sensibility reminiscent of the Italian style, Matisse mentions in another story, about the child bust. He recounts that at the moment the art critic Louis Vauxelles entered the room, he exclaimed: "Wow, Donatello among the beasts!" ["Donatello au milieu des Fauves"]. After this, the authors of the works gave importance to the phrase:"Donatello chez les fauves..." (in Spanish, Donatello entre fieras...) published at the end of the criticism section, for Room VII in the Gil Blas newspaper or the story mentioned by Matisse about what happened. The group ended up adopting the badge, as a label for their works and their collective. John Elderfield mentions these two statements: the publication in the newspaper and the anecdote told by Matisse about the phrase. This origin has been taken as true for many years in the history of art.

The second of these assumptions, the most recent, is where Roberta Smith, contemporary art critic, who currently writes for The New York Times, relates the artist Henri Rousseau to his work Hungry lion attacking an antelope, this work was exhibited at the Salon d'Automne in 1905 with the group of artists who were later called the Fauves. She clarifies that Rousseau has never been considered a Fauvist, nor does she. However, the theme of violence or violence in the jungle or the wild violence of the painting, could have influenced the choice of the qualifier for the group and the works of young painters of the movement. This affirmation emerges in the exhibition Henri Rousseau: Jungles in Paris where the same affirmation is also made. This exhibition was held from July 16 to October 15, 2006, at the National Gallery of Art in Washington, D.C. (in collaboration with Tate Modern or the British National Museum of Modern Art, the Union of National Museums of France or Réunion des Musées Nationaux (RMN) and the Musée d'Orsay.The exhibition was curated by Frances Morris of the Tate Modern, Christopher Green of the Courtauld Institute of Art, and Claire Frèches-Thory (Senior Curator of the Musée d'Orsay).

Context

Louis Vauxcelles by Jules Chéret (1836-1932). Coal on blue paper. 35.5 x 22 cm. Date: 27.11.1909

The atmosphere of avant-garde Paris, where Fauvism arose, is made up of many varied elements, and it would be an endless task to mention them all, but some can be indicated to illustrate: the renewal of the city in the second half of the century XIX by Georges-Eugène, Baron Haussmann and his urban plan, new forms of construction such as concrete, the advance of domain of modernism is the architectural style, construction with iron, having the Eiffel Tower as a metaphor for modern construction. The introduction of electricity to the city allowed the opening of the metropolitan train in 1900 and a greater mobility of the inhabitants. The Universal Exhibitions of the beginning and before the XX century. Other technological processes in the last decade of the XIX century: the automobile, the diesel engine, cinematography, the first submarine telephone cable between France and England, wireless telegraphy, electric lighting. etc Massive shows, the Tour de France in motorsports and cycling. Advances in science, with the theory of relativity and radioactivity. The influence of psychoanalysis with the three essays on Freud's sexuality. A very active relationship, in various fields of art, both French artists and foreign residents. The activity of various dealers.

In 1905, the Autumn Salon held an exhibition of paintings, sculptures, drawings, engravings, architecture and decorative arts. In the catalog of the artistic exhibition, the number of rooms in which the salon was composed was not indicated, the names of the artists with the exhibited works were arranged alphabetically, in total there were 1636 works by 577 artists. On the other hand, take into account that “only three of the six artists that L'lllustration brought together were represented in the famous Salle VII: Matisse, Derain and Manguin. With them were Marquet, Camoin, Vlaminck, and a few others; Puy was in Salle III with the older Nabis, Vuillard and Bonnard among them; Rouault was in the Salle XVI with some Cézanian-influenced realists, as Vauxcelles classified them, which pointed to the contrast between his work and Rouault's. Valtat was in the Salle XV, with the then unknown Jawlensky and Kandinsky".

It must be taken into account that he used bright colors, he was in many artists outside of Fauvism, in Paris around 1900, the use of intense color, far from being an exclusive phenomenon of the beginnings of this movement, was one of the main characteristics of the avant-garde in painting, during that time. The early work of the Fauves must be studied in this broader context. The use of intense colors by itself is not a unique characteristic to classify it within the Fauvist movement, on the other hand.

In 1904 Henri Matisse was working on the painting Luxury, Calm and Voluptuousness which he exhibited at the Salon des Indépendants in 1905. This work is considered a synthesis of post-impressionism that was the result from a personal search effort and became virtually a manifesto of what would become Fauvism shortly thereafter. Matisse's subjective use of color and simplification of drawing surprised everyone when he was first exhibited, while his lack of interest in finishing and gaudy colors earned him the scorn of critics when he exhibited his landscapes, painted at Collioure, at the Salon d'Automne in 1905. The Portrait of Madame Matisse or La Raie Verte (The Green Line) was also exhibited there, where it was interpreted by critics as a caricature of femininity and an eccentricity in portrait painting.

The repudiation or importance of criticism made Fauvism the avant-garde group in Paris at the time, shortly after Maurice de Vlaminck joined the Fauvism of Henri Matisse and André Derain. As an expressionist movement,^{[citation required]} appeared chronologically at the same time as German Expressionism,^{[citation required]} with a protest proposal contrary to Positivism, Naturalism and Impressionism.^{[citation required]}

The group of artists of this movement did not have a manifesto. One cannot speak of a Fauvist style, but each artist manifested a particular approach within Fauvism, of free expression, freedom of morality and teaching-learning autonomy, for example.

Portrait of Friedrich Nietzsche in 1885 with its signature

Influences for Fauvism

Eugène Carrière. Self-portrait. Oil paint.

The influences can be varied not only from art but from other fields, be they cultural, social, philosophical or literary, science, technology, etc.

With philosophy and art, his main influences come from the ideas of Zola, Nietzsche, Bergson, Croce, Stirner and Huysmans.^{[citation needed ]}

• In the group of fauvists "the same obsession can be observed by the immediation of experience, the same culte de la viein contemporary enthusiasm for Friedrich Nietzsche."
• Fauvism links with intuition and immediacy, founded in Herni Bergson and Benedetto Croce.

One of the rooms of the Gustave Moreau Museum, Paris, France

The masters Charles Lhuillier, Eugene Carriere and Gustave Moreau, were formative influences for some of the group of Fauves since they had training in the studio or academy with these masters. The main group of Fauves began its formation before 1900 with three teachers who were, first of all, Henri Matisse and his classmates from the time of Gustave Moreau's studio and the Academie Carriere: Albert Marquet, Henri Manguin, Charles Camoin, Jean Puy and, somewhat distant from these, Georges Rouault. Secondly, the so-called "Chatou school", where André Derain and Maurice Vlaminck shared a studio in Chatou since 1900. And a third group, the last to join the group, from Le Havre were Emile Othon Friesz, Raoul Dufy and Georges Braque, they had Charles Lhuillier in common as a teacher at the School of Fine Arts in Le Havre. Later, other artists joined the movement, the Dutch Kees Van Dongen, who met the others in the salons and galleries where they all exhibited.

Although they conceived artistic activity as a consequence of a vital impulse,^{[citation needed]} their starting point was the resolution of purely plastic problems,^{[citation required]} as the use of color in a double plastic and constructive function at the same time.^{[citation required]} The master of group was Gustave Moreau, at whose school Henri Matisse and Georges Henri Rouault, Henri Manguin, Charles Camoin and Jean Puy studied. Moureau taught no doctrine but instead forced his students to paint independently and with the technique that was best suited to their temperament.^{[citation needed]} From Gauguin's work they learned freedom in the use of color,^{[citation needed]} which they took to the extreme (colors are like sticks of dynamite, as Derain would say), as well as the freedom of temperament and personal instinct. They also admired the capacity for synthesis and the decorative sense of Gauguin's work. For the Fauves, the painting should be expression, not composition and order.^{[citation required]}

As an artist Paul Cezanne influenced several Fauvist artists. It has been affirmed that the end of Fauvism was due to the influence of Cezanne since its revaluation from 1907, but this artist also "was a decisive component of Fauvism from its very beginning". Albert E. Elsen made a study where he related the sculpture The Servant by Matisse with his painting and the influence of Cezanne. See work by Henri Matisse: The Servant. 1900-1903. Bronze sculpture. 91.77 x 37.8 x 33.02 cm. Museum of Modern Art, San Francisco, California, United States. In André Derain. In 1904 Charles Camoin visited the artist, in that year he made a portrait of Albert Marquet that resembles a portrait by Cezanne of his wife, the which was exhibited at the Salon d'Automne in 1904. See work by Charles Camoin: Portrait of Albert Marquet. 1904. Oil on canvas. 92 x 72.5cm. Georges Pompidou National Center for Art and Culture, Paris, France.

Another artist who may have been influential according to André Salmon in a 1912 critique "wondered if Fauvism would have been able to achieve the full manifestation of its color without the influence of Redon".

With the artist Paul Gauguin, the characteristic flat color of Fauvism had its influence. In the work of Matisse and Derain, for example, the latter felt that the southern light crushes the volumes. fauves is that he does not build space through color, but uses it as an expression of feeling" Matisse would say. In the artist's decorative art, in the sense of exalted and decorative color. The first news of exotic cultures came from this artist for the Fauves, in the primitivism evident in his Tahitian paintings with figures of idols and totems, also the Indian stones that so impressed the artist. In the theme of dance, by Matisse and Derain, there is a reinterpretation of this artist's work with the primitive. His interest in ceramics was also an influence for the Fauves.

Autumn Hall of 1904, Ambroise Vollard, Cézanne Room.

Dealers have an important role in publicizing the artistic movement and encouraging new relationships between artists, individual or collective exhibitions, new pictorial experiences, visiting countries, giving financial support in vouchers for example etc The dealer Ambroise Vollard helped and met several members of the group, as an anecdote, with André Derain he gave him support to go to London taking advantage of the boom that Impressionism still had in that place and at the same time make some commissioned paintings. another part gives space in its gallery for the first individual exhibition to Kees Van Dongen and Matisse. The art dealer Wilhelm Uhde who housed works from this movement in his gallery. The gallery owner Berthe Weill (1865 - 1951) was the one who "discovered the Fauves before the Salon d'Automne in 1905" and to be the first person to distribute works of art by artists: Derain, Braque, Matisse, Dufy among others.

View of the Trocadero during the Paris World Fair 1900. The Trocadero Palace represented in this painting was built for the World Fair of 1878 and was destroyed by a fire in 1935. The two buildings on both sides of the Trocadero are the Algerian Palace and the Algerian Pavilion.

The art of West and North Africa, which arrived in the 1870s in museums in France, Germany, London, and in the collections of some artists, included African masks and black sculptures. Similarly, masks and sculptures from Oceania. Product of the colonialism process carried out by several European countries. With art, colonialism and French North Africa, a relationship of that influence can be made.

African mask, mask of Sénoufo culture, South Mali and North Ivory Coast, West Africa (It was the colonial territory of France)

The art of Africa and the art of Oceania influenced the Fauves for example: Henri Matisse was a frequent visitor to the formerly called Trocadero Museum in Paris, on some visits he was accompanied by Maurice de Vlaminck. At other times André Derain accompanied to Vlaminck. In addition, due to different situations, these artists had other encounters with African art. Matisse traveled to North Africa at the beginning of 1906, to Algeria, bringing various ceramics and local fabrics with him, and to Morocco (1912-1913). Maurice de Vlaminck it had a collection of art from Africa and Oceania that was exhibited in 2009. In the introduction for visitors to the 1905 Salon d'Automne, the art historian Élie Faure told them to be tolerant “in order to get in touch with the young generation of artists, we must be willing to listen and understand an absolutely new language. Give ear to these primitives.” With the use of the word primitive and art history the following clarification is required, read Study of Art History#The study of non-Western art history and primitive art.

It was a syncretic movement, because they used and included characteristics of contemporary artistic movements, in their spirit of transformation of returning to the purity of resources as Matisse would say, of a direct character and with an appreciation of individuality, of Not being submissive to the pictorial heritage, the group wanted to go beyond what had been achieved in painting, which is why they were avant-garde.^{[citation required]}

In the formation of the Fauvism style, there were many artistic movements that were an adequate environment for its development, for learning, for synthesis or syncretism or reinterpretation. This can be appreciated in the ability to synthesize the painting tradition of the late XIX century. In the case of Matisse, that capacity matures until 1905. For example with respect to the work mentioned by John Elderfield: The Convalescent Woman (The Sick Woman, title given by the museum). From 1899. It is an oil on canvas. 41.4 x 38.4 cm. They have an object number: 1950.225. Which is in the Baltimore Museum of Art, Baltimore, United States. From this work it can be seen that: "not only does he combine neo-impressionist methods with nabis methods, but he grafts them on his own alternative style of 1899, that of El invalido, in turn profoundly influenced by a third great post-impressionist option, the of Cézanne”.

• With the Nabis
  • 

    Paul Sérusier. Bretonous dance, oil painting. Note the use of the color and the decorative. Paul Sérusier was the leader of the Nabis group.
    "While the figures of Matisse's early works remind Cezanne and the sculpture that the Matisse himself began to do at that time the zoning of color is due to some degree to the flat decorativism of the Nabys. Both decorativism nabi and its colour are patented in the sights of Notre-Dame and the bridges of the Seine that Matisse painted towards 1900, in its violets and green serenes, so dominant, and in its breath more sowed than that of its paintings of figures". See the work of Henri Matisse: Notre-Dame. 1900. Oil on canvas. 66.7 x 99.1 cm. Support 46 x 37.5 cm with frame 68.9 x 60.8 x 8.1 cm Tate, London, England. This influence extended to other future fauvists: Albert Marquet, Keen Van Dongen, André Derain.
  • The first drawings, with Chinese brush and ink, by Albert Marquet with street themes of the Parisian atmosphere, is where you can appreciate "another aspect of the nabi art, the calligraphic style "Japanese" of the Bonnard drawings". See the work Albert Marquet: Couple dancing. 1903. Chinese brush and ink on paper. 15.5 x 11cm. Inventory number: Bx 1960.5.15, Bordeaux Museum of Fine Arts, Bordeaux, France.
• With impressionism. Influences of Paul Gauguin^{[chuckles]required]}
  • 

    Claude Monet. The Parliament in London, 1904. Oil on canvas. 80x91 cm. Krefeld Museum. Krefeld. North Rhine-Westphalia, Germany. One of the main exponents of impressionism.
    André "Derain was doing, towards the end of 1905 or early 1906, a deliberate revaluation of a project that had occupied Monet, namely, a series of paintings of the Thames River that had been commissioned by Vollard. During his stay in London, Derain made some of the most outstanding examples of Fauvism. He reacted greatly to the changing variety of lights and the different gradations of the fog and the sorms that were closing on the river; however, it is not merely re-elaborated impressionist responses but reinterpreted in a characteristically subjective way."
• With Post-Impressionism^{[chuckles]required]}
• With neo-Impressionism
  • Matisse had the book of Signac, entitled Delacroix to neo-Impressionism which he read in the study of Gustave Moreau.
  • "It does not fail to be significant that the first neo-impressionist experiments of Matisse were influenced by the work of Signac and Cross, which treated the units of color as adoquines or teselas of a mosaic, giving them a much greater extension than that of the components of the pure and meticulous pointillisme of Seurat".
• With puntillism^{[chuckles]required]}
• With divisionism
  • 

    Georges Seurat Pierre. "Gravelines: an afternoon study." Oil paint. The Museum of Annunciation in Saint Tropez, France. Exponent of divisionism.
    In the 1905 Independents Hall, Matisse exhibited the work "Lujo, Calma y Voluptuosidad" in the spring of that year. Apart from the discussion of criticism for the work, the artist promoted other fauvists to approach “divisionism”, the so-called evolution of the puntilist style of Seurat. Otherwise Signac emphasized that the style continued to be guided by contrast laws in the chromatic and complementary circles. In the work of “Light, Calm and Voluptuousness” it departs from any guide indicated by Signac: “their color stains are too great for the optical mixture to “power” the way of Seurat. Much of the divisionism practiced by Matisse, Derain, George Braque and others was only a separation of colors in unmixed mattresses (taches).”
    • Henri Matisse: Estudio para Lujo, Calma y Voluptuosidad. 1904. Oil on canvas, 32.7 x 40.6 cm. Museum of Modern Art, New York, United States.

Features

These are some features that can be mentioned:

• The color applied with the brushstroke makes drawing and mimeticism conditioned to color. Ronald Pickvance mentions: "The identity of the flowers is subsumed in a single-coloured staple equivalence, forming an independent rhythmic drawing, [...] deny any descriptive function that evokes the flowers accurately" for the work of Maurice de Vlaminck: Blue vase with flowers, 1906. Oil on canvas. 81.5 x 45.7 cm. Thyssen-Bornemisza Museum, Madrid, Spain.
• The color was its center in creation.^{[chuckles]required]} "The logic of the form created by color - by drawing the color - that fauvism made possible was not understood at all immediately except by those who were so obsessed by pictorial purity as Matisse. It immediately realized that the color alone could evoke the complete record of pictorial qualities that the other components of the painting express separately: the depth and the flat character, the outlines and the surfaces, the substantive and the illusory. "
• 

  From Albert Marquet the work The New Bridge (Paris), an oil on canvas, dimensions without frame 50.2 x 61.3 cm. Date 1906. Note the use of dark colors to paint some outlines of some figures in the picture.
  Limit the shapes with dark outlines.^{[chuckles]required]}
• Vlaminck manifested: to use "pure colors as they come out of the tube" on the canvas.
• The drawing will be a secondary aspect for these artists,^{[chuckles]required]} However Matisse did not forget its importance. The decorative function was also highlighted and undulating lines were used.^{[chuckles]required]}
• In this quest so directed towards color, other aspects such as modeling, clearing or perspective are forgotten.^{[chuckles]required]}
• 

  Academic style drawing
  There is a transgression of the way to look beyond representation by memesis inherited from academicism, that search gives an abstraction of the color-centered form. This abstraction of the form, does not come from the exterior model in which the artist is inspired, the identification of the work with the model does not disappear.^{[chuckles]required]}
• Fauvista pictorial technique employs fast and vigorous touches, coarse and discontinuous strokes, although distortion is created in the figures: a sensation of spontaneity is sought.^{[chuckles]required]} Regarding this characteristic Tomás Llorens Serra, he states that the "execution is very shallow and direct, anticipating what will be one of the distinctive characteristics of the fauve style" regarding the work of André Derain: Landscape in the surroundings of Chatou. 1904-1905. Oil on canvas. 54.2 x 65.2 cm. Thyseen-Bornemisza Museum, Madrid, Spain. On the same page you can click on the part "The work in its context" that addresses it to the virtual exhibition, there you can make a zum to the image of this work and appreciate the type of brushstroke that is mentioned.
• The foundation of this movement is the liberation of color from drawing by exalting chromatic contrasts.^{[chuckles]required]} Artists fauves they will work with color theory by interpreting which colors are primary, which are secondary and which are complementary.^{[chuckles]required]} Through this approach they achieved a complementarity between colors, which produced a greater visual contrast and a greater chromatic force.^{[chuckles]required]}

• 

  RYB model, the location of primary, secondary and tertiary colors in a chromatic circle, for harmony and contrasts.
  This approach, known as the RYB color model, classified the colors as:
  • Primary Colors: Red, Yellow, Blue
  • Secondary colors: they are obtained by mixing primary colors: red + blue (violet); red + yellow (orange); yellow + blue (green).
  • Complementary: it is understood by complementary color, the color opposite to another: for green is red, for blue is orange and for yellow is violet.

• These artists were the last ones they made Outdoor paint, "plein air" as in French is referenced. Matisse was enthusiastic about Paul Signac's luminosity in Saint-Tropez and shared with André Derain the summer in Colliure, where they raised the tonalities of their pallets. Other members of the group -Charles Camoin, Henri Manguin and Albert Marquet - were also seduced by Mediterranean light,^{[chuckles]required]} which is reflected above all in vibrant natures, in sea views and in nude care. Shortly afterwards, George Braque, Raoul Dufy and Othon Friesz placed their attention in the fishing villages and in the joy of the villas set by the popular parties. This characteristic is exemplified with the work of André Derain, boats on the beach, in Colliure (or Colibre), 1905.
• Light is a topic treated in art in many artistic manifestations. In the fauvists the light was made by the contrasts made by matiz not by tone.
• Another characteristic of this painting is its intention to express feeling, something that Nabis painters previously tried.^{[chuckles]required]} This makes them perceive nature and what surrounds them according to their feelings. In the idea that there is a difference between the color perceived by the eyes and the color processed by the mind or thought.^{[chuckles]required]}

• They defended a rebellious attitude, an attempt to transgress the rules regarding painting. They were ultimately looking for something different that would make them advance in the artistic sphere.
  • Maurice de Vlaminck: "I didn't want to follow a conventional way of painting; I wanted to revolutionize customs and contemporary life."

• Regarding the themes they painted there was a great variety: some painted the rural world and others the urban area. Some performed naked, inner scenes, wagons, while others preferred outdoor painting, performing landscapes, influenced by the customs of impressionism, others showed the importance of feeling the joy of living.^{[chuckles]required]}
• Within this style there is a combination of methods called "composite technique fauvism" where there was a syncretism of various artistic movements. By anecdote: "combined characteristics derived from Seurat and van Gogh, with the reinstated, froggy brush, and the arbitrary divisions of color that remind Cezanne."
• It is generally known that he had a great contribution through oil painting however the fauvists also performed works in other artistic techniques: ceramic, sculpture, engraving, drawing, etc.^{[chuckles]required]}

Works

In Wikipedia you can find works of Fauvism with history, context, analysis, appreciations and data about them. In addition to these works, a brief list of works of the movement, in oil paint, is presented below:

• André Derain: The "Pool" of London. 1906. Oil on canvas. 66.7 x 99.1 cm. Tate, London, England.
• André Derain: Henri Matisse. 1905. Oil on canvas. 46 x 34.9 cm. Tate, London, England.
• Charles Camoin. Portrait of Albert Marquet. 1904. Oil on canvas, 92 x 72.5 cm. Centro Nacional de Arte y Cultura Georges Pompidou, Paris, France.
• George Braque: The port of Antwerp. 1906. Oil on canvas. 49.8 x 61.2 cm. National Gallery of Canada, Otawa, Canada.
• George Braque: The big trees. The Pond. 1906-1907. Oil on canvas, 80 x70.5 cm. Museum of Modern Art, New York, United States.
• Henri Matisse: André Derain. 1905. Oil on canvas, 38.4 x 28.3 cm. Tate, London, England.
• Henri Matisse: Woman with hat. 1905. Oil on canvas, 80.65 x 59.69 cm. San Francisco Museum of Modern Art, San Francisco, California, United States.
• Henri Matisse: La Gitana. 1905. Oil on canvas, 55 x 46 cm, Museum of Annunciation. Saint-Tropez, France.
• Maurice de Vlaminck: The Trailer in the Seine, Chatou. 1906. Oil on canvas, 50.2 x 65.1 cm. Washington D.C. National Gallery, Washington D.C. United States.
• Maurice de Vlaminck: The red trees. 1906-1907. Oil on canvas, 65 x 81 cm. Centro Nacional de Arte y Cultura Georges Pompidou, Paris, France.
• Maurice de Vlaminck: Blue vase with flowers, 1906. Oil on canvas. 81.5 x 45.7 cm. Thyssen-Bornemisza Museum, Madrid, Spain.
• Raoul Dufy: The posters in Trouville. 1906. Oil on canvas, 65 x 81 cm. Centro Nacional de Arte y Cultura Georges Pompidou, Paris, France.

Although Fauvism is known in most cases for its great contribution through oil painting, this movement ventured into other plastic techniques:

• Ambroise Vollard had the idea of stimulating some artists to perform Fauvista ceramics, to make this movement more accessible to the public. Maurice de Vlaminck in 1906, animated by Vollard, his marcher, began a collaboration with the writer André Metthey, with this technique, some of his works, are classified as fauvists. Derain and Matisse were also stimulated by the marcher and the ceramist. However, the Fauvista ceramic project did not triumph. Some works that can be mentioned:
  • André Derain: Florero. 1907-1908. Ceramic. 53 x 20 x 20 cm. Inventory number: KMSr135. National Gallery of Denmark, Copenhagen, Denmark.
  • André Metthey
  • André Metthey “Plato - Adam and Eve” (1909-1920). Petit Palais, Musée des Beaux-Arts de la Ville[1] Paris, France.
  • Henri Matisse: Vase. 1907. Ceramics. 23.4 cm high. Private collection.
  • Maurie de Vlaminck, plate decorated with bird running. 1908. Usually André Metthey made the forms of dishes or vases and Vlaminck decorated them.
  • At the Embassy of France in Tokyo, Japan, an exhibition entitled: The ceramic works of Rouault and the fauvists (2015)[2].
• Coppel gives the idea and suggests influences for the development of wood engraving or xilography in the fauvists.
  • Henri Matisse: Engraving in large wood. 1906. Wooden engraving. Paper 57.4 x 46 cm, Matrix 46.5 x 39.5 cm. Object number: 1950.12.236. Baltimore Art Museum, Baltimore, United States.
  • Henri Matisse: Engraving in black small wood. 1906. Wooden engraving. Paper 46 x 28.7 cm, Matrix 31 x 22 cm. Object number: 1950.12.235. Baltimore Art Museum, Baltimore, United States.
• With the engraving to dry Punta
  • André Derain. Landscape. 1907. Dry-tipped print, 28.9 x 35.8 cm. Museum of Modern Art, New York, United States.
  • Henry Matisse. Two nudes, two heads, 1900-1903. Dry-tipped print, matrix size 14,9 x 10 cm and paper size 32 x 25.5 cm. Museum of Modern Art, New York, United States. Matisse started working on copper engraving around 1903, with dry tip.
• With the lithography engraving. Matisse after its engravings in copper, around 1903. He paused the engraving in 1906, performing his first lithographs and lymphograbados, again paused until 1914.
  • Henri Matisse: Nude inclining with a narrow look. pencil lithography. 1906. 45.1 x 28.1 cm. Object number: 1950.12.133. Baltimore Art Museum, Baltimore, United States.
  • Henri Matisse: Figure with a black collar, view from the back. pencil lithography. 1906. 44.9 x 27.9 cm. Object number: 1958.116. Baltimore Art Museum, Baltimore, United States.

• With the technique of watercolor painting, there have been some exposed works. Apart from them you can mention:
  • André Derain. Boat dance. 1906. Lie and pencil on paper. 49.5 x 64.8 cm. Museum of Modern Art New York, United States.
  • André Derain. Two dancers. 1906 ca. Lie on paper. 43.8 x 54.6 cm. Inventory number: KKSr158. National Gallery of Denmark, Copenhagen, Denmark.

• The drawing that is often seen as a step before work in painting, as sketches. The drawings serve as a studio or annotation for the artist. Those who have the opportunity to observe these previous or completed works can appreciate in the drawing part of the process of building a work or ideas for future works or see solutions that the artist gives to certain answers or visual analysis. You can also see treatments of some elements of the visual or compositional language given by the artist. The "notational aspect of the painting is determined by the drawing, which, in addition to its technical function of project, enjoys, at the time of presenting itself as "free" or sketch drawing, of an artistic specificity capable of attributeing an aesthetic value autonomous to the product". Drawing jobs have been exposed to this movement.
  • Albert Marquet. Fun car. 1905. Brush, Chinese ink on paper. 12.7 x 14.2 cm. Inventory number Bx 1960.5.8. Museum of Fine Arts of Bordeaux, Bordeaux, France.
  • André Derain. The Golden Age. 1904-1906. Carbonette on paper. 29.7 x 19.4 cm. Inventory number AM 3671 D. Centre Nacional de Artes y de Cultura Georges Pompidou. National Museum of Modern Art, Paris, France.
  • Henri Matisse: The bathroom. 1905-1906. Chinese brush and ink. Paper 94 x 69 cm, with edge 95.7 x 71.3 cm. Object number: 2013.4. Baltimore Art Museum, Baltimore, United States.
• With the sculpture several artists of fauvism were expressed through this artistic technique, using for example the wood size, some works that can be mentioned:
  • André Derain: head and feet carved for a bed. 1906-1907. Wood size. Unknown whereabouts
  • Henri Matisse: The Dance. 1907. Wood size, 44 cm high. Museum of Matisse de Nice, Nice, France.

To consult more about works and artists of this artistic movement, you can read the section on temporary exhibitions, below.

Temporary exhibitions

Thyssen-Bornemisza Museum, Spain.

a section of the Museum of Modern Art in New York

Museum of Modern Art of Céret, France.

Since their origin, the Fauves have been an important part of the history of art, which is why their works are part of private and public collections in important museums around the world. The general public can appreciate these works in most cases through temporary exhibitions as part of museum activities. At present, museums in their role of disseminating, researching, educating, preserving their cultural contribution makes their important value known on the Internet. There are also exhibits from notable diplomatic and cultural organizations that can be mentioned. For this reason, this is a short list of temporary exhibitions on Fauves to consult:

• Dufy (From 17 February to 17 May 2015). Thyssen-Bornemisza Museum, Madrid, Spain. In it you can find its production of the Fauvista period among others.
• Henri Manguin. A "jump" in the Bonnard. From 27 June to 31 October 2015. Bonnard Museum, Le Cannet, France.
• The ceramic works of Rouault and the fauvists (in English The Ceramic Works of Rouault and the Fauvists) from 11 April to 21 June 2015. Panasonic Shiodome Museum, Tokyo, Japan. The exhibition was organized by the Panasonic Shiodome Museum and others. It was supported by the Embassy of France in Japan, French Institute of Japan and others. With special collaboration from the Georges Rouault Foundation. The site has an English version.
• The fauves. The passion for color (from 22 October 2016 to 29 January 2017). Fundación MAPFRE, Madrid, Spain. The curator of the exhibition was María Teresa Ocaña.
• The "savages beasts": Fauvism and its affinities (from March 26 to June 1, 1976), Museum of Modern Art, New York, USA. On the same site is the reasoned catalogue "The Fauvism" by John Elderfield, in Spanish, by Juan Díaz de Atauri, 1983.
• Jean Puy (1876-1960) fullness of a wild. From April 9 to September 18, 2016. Museum of Château de los Duques de Wurtemberg, Riquewihr, France.
• Maurice de Vlaminck, a fauve instinct. Paintings from 1900 to 1915. Exhibition from 3 July to 18 October 2009.CaixaForum Barcelona, Spain. The curator was Maïthé Vallès-Bled. On the site there are photos and videos of the exhibition.
• Exhibition of Hungarian fauvists. From 21 June to 12 October 2008. Museum of Modern Art of Céret Céret, France. Exhibition co-produced with Museo Matisse de Cateau-Cambrésis and Museo de Bellas Artes de Dijon, in collaboration with the Hungarian National Gallery of Budapest.
• Othon Friesz, a singular savage. From 17 June to 17 October 2016. Annunciation Museum, Saint-Tropez, France.

Fauve influence

The contributions of Fauvism in the century of the avant-garde can be seen in several important consequences for the development of art in the first half of the century XX. The contributions were direct or indirect, beyond their heyday in France and it cannot be determined to that country alone. In addition, it was not an exclusive or unique cause for the following transcendences:

Other artists who were not from the main group of the movement but of strong influence in Belgium, Spain, Hungary and others:

• In Belgium, the Fauvists of Brabante, is an expression given for the first time in 1941 by the Belgian critic Paul Fierens, to describe an informal group in Brueselas (in Brabante) the founders include Fernand Schirren, Louis Thévenet, Willem Paerels (1878-1962), Charles Dehoy and Auguste Oleffe And the artist Edgard Tytgat, Jean Brusselmans, Anne-Pierre de Kat (1881-1968). On the other hand the artist Henri Evenepoel.
• In Spain, artists Francisco Iturrino and Juan de Echeverría.^{[chuckles]required]}
• In Hungary, the artist Béla Czóbel, Róbert Berény, Vilmos Perlrott Csaba, Sándor Ziffer, Lajos Tihanyi, Géza Bornemisza, the marriage Sandor Galimberti and Valéria Dénes.

These groups are otherwise known as Belgian Fauvism, Iberian Fauvism as Gaya Nuño would call it, and Hungarian Fauvism,^{[citation needed]} respectively.

There are groups of artists that have a diversity^{[citation required]} of types of art and where they generally take into account various artistic movements ^{[citation required]}in his way of understanding art, therefore he does not fully consider Fauvism. These are some artistic collectives or groups of artists influenced:

• The group Der Blaue Reiter (the Blue Horseman in Spanish) had many influences and among them this artistic movement.
• The Montparnasse Group, in 1922, Chilean artists of painting influenced by the European post-impressionist tendency and, above all, by fauvism
• The Bridge (Die Brücke) had the influence of fovism. Where Dutchman Kees Van Dongen joined the group.
• Sota de Diamantes was a Russian collective whose interest was the development of new styles, from his interpretations of Henri Matisse and his fauvista period. Among other movements and artists.^{[chuckles]required]}

There are artists who have been influenced by Fauvism, at the same time of emergence, development, peak and exhaustion. And they have not been in the main group or in the previous groups. Thus, after passing through Fauvism, they follow their own plastic path towards other movements or personal purposes in art. For example, the Japanese artist Yoshio Aoyama who met Matisse during his stay in Paris, specifically in Nice.^{[citation needed]} The French artist Émilie Charmy who worked closely with Henry Matisse.^{[citation required]}

In the century of the avant-garde, as was the XX century, numerous "isms&#34 arose;, artistic movements that arose as a result of the influences of each other,^{[citation required]}

• Expressionism