Fauvism

Fauvism (1904-1909)

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OVERVIEW	Fauvism owes its name to the critic Louis Vauxcelles, who, in order to characterize the audacity of certain paintings displayed at the 1905 Salon d'Automne, referred to the room where these works were grouped as a "cage aux fauves" (a wild-beast cage). The term "Fauve" was applied to several painters active during the first half of the 20th century, including Matisse, Friesz, Derain, Rouault, Dufy, Marquet, Vlaminck, Camoin, Puy, and Manguin. These artists reacted against the analytical methods of Impressionism; they often outlined objects in black and juxtaposed pure tones, substituting intellectual naturalism (such as a yellow sky and red trees) for visual naturalism. They were rebelling against the academic realism taught to them by their professors, with the exception of Gustave Moreau. As Matisse wrote, "The expressive aspect of color imposes itself upon me purely by instinct." Thus, we encounter once again, now centered around the fundamental importance of color, Gauguin's Pont-Aven theories on color composition and the inherently subjective nature of the act of painting. This led to several consequences: the simplification of means, the rejection of perspective, chiaroscuro, shading, relief, broken tones, and the utilization of nature to suggest a personal language.





HISTORY	A distinct Fauvist technique evolved, though it varied from artist to artist. Unlike the Nabis, the Fauves showed little interest in contemporary cultural and literary trends. Most of them came from middle-class backgrounds, their cultural horizons were limited, and their knowledge of art history was unsystematic; their enthusiasm for learning varied. For instance, while Matisse and Derain studied the old masters, Vlaminck boasted of never having set foot in the Louvre. Fauvism was not simply a logical application of an artistic doctrine; rather, it emerged as a meeting of painters sharing certain views. Its unique character developed along the way, drawing from the influences of their predecessors. The initial inspiration for the Fauves came from their admiration for Van Gogh (whose famous retrospective exhibition was held at Bernheim-Jeune in 1901), Gauguin (whose retrospective coincided with the 1906 Salon d’Automne), Signac, the Neo-Impressionists, and Cézanne, whose last, troubled works captivated them. They were particularly intrigued by the colors used by their predecessors, especially their bold and unapologetic application of pure tones. The Fauves employed pure colors to express form, light, and local color simultaneously. In many ways, they aimed to convey sensuality and could thus be compared to the Impressionists, whom they initially imitated. Although the Fauves frequently invoked concepts like “instinct” and “spontaneity,” they did not suggest that they ignored the necessary distancing involved in the act of creation. This distancing varied among the painters; for instance, Vlaminck’s work, reflecting his aggressive and domineering nature, differed significantly from Matisse’s, who often recomposed sensations, sometimes substituting unrealistic colors solely for decorative and harmonic effects. Fauvism, therefore, represented an attitude rather than a precise doctrine, explaining its brief militancy and rapid dispersal after 1908. Key figures included Matisse, Derain, Vlaminck, Marquet, Dufy, Braque (in his early work), Camoin, Puy, and Manguin. The label “Fauvism” was not chosen by consensus among its practitioners, unlike the Nabis, who collectively adopted their name. At the 1905 Salon d’Automne, critic Louis Vauxcelles, while pointing out two sculptures by Marquet displayed alongside the works of Matisse and his peers, exclaimed, “Donatello among the wild beasts!” This term aptly captured the atmosphere of the movement as it emphasized a certain spirit rather than a well-defined doctrine—a concept that the Fauves never fully developed. What distinguished the Fauves from general late-century trends was primarily their conception of expression. With Fauvism, the issue of the relationship between freedom of pictorial technique and the ideals it sought to embody diminished. The picture itself became the absolute focal point, serving as both a beginning and an end—the painter revealing themselves to the world through it. This explains the intense energy associated with Fauvism; it signaled an artist's revolt, a realization of their creative power, and a rejection of the tyrannical constraints of tradition. The Fauves intended to use their vision freely and provocatively to assert their sovereignty in art. Thus, they continued the legacy left by Gauguin and Van Gogh, each artist personally challenging norms while striving to grasp the absolute within their art.





CHRONOLOGY	1880 Durand-Ruel resumes buying paintings from Sisley andPissarro. Exhibitions: April 5th Impressionists group; May outwards Salon; April LaVie moderne offices, Manet; June LaVie moderne offices, Monet. 1881 Durand-Ruel resumes buying paintings from Renoir and Monet. Exhibitions: April 6th Impressionists group; May outwards Salon (new organised, under the control of the artists); LaVie moderne offices, Sisley; June LaVie moderne offices, Redon. 1882 Exhibitions: march 7th Impressionists group; May outwards Salon, May LaVie moderne offices, Redon. 1883 April Death of Manet. Exhibitions: Durand-Ruel, series of one-man shows: Boudin (Feb.), Monet (March), Renoir (April), C.Pissarro(May); May outwards Salon, Sept. outwards Exposition Nationale. 1884 Exhibitions: Jan. Ecole des Beaux-Arts, Manet (retrospective); 4-5 Feb. Manet studio sale; May outwards Salon; May-July Salon des Artistes Independants; Dec. Societe des Artistes Independants, 1st exh. 1885 Exhibitions: May outwards Salon; May-June G. Petit, 4th Exposition Internationale. 1886 March, VanGogharrives in Paris.Gauguinvisits Brittany for first time. Death of Monticelli. First Neo-Impressionists paintings shown at 8th and last Impressionist exhibition. Exhibitions: May outwards Salon; May-June 8th impressionists group, June-July 5th Exposition Internationale; Aug.-Sept. Independants. 1887 Gauguinlives in Martinique. Exhibitions: Feb.-March Le Tambourin café, Japanese prints, organised be Vincent vanGogh. March-May Independants; May outwards Salon; May-June 6th Exposition Internationale; spring (?) Le Tambourin café, Dec.-Jan. 1888 Revue independante. 1888 VanGoghleaves Paris for Arles.Gauguinjoined be Bernard at Pont-Aven in Brittany. Oct.,Gauguinjoins VanGoghin Arles. 1888-9, by Serusier, Denis, Bonnard, Ranson, joined 1889 by Vuillard and Roussel. Exhibitions: Jan. Boussod&Valadon (Theo van Gogh); Durand-Ruel, exh. Inc. Degas; March-May Independants; April Boussod&Valadon (Theo van Gogh); Sept.-Oct. Revue independante offices Dubois-Pillet. 1889 Exhibitions: May outwards Salon; May outwards Exposition Universelle; June-July G.Petit, Monet-Rodin (retrospective), Sept.-Oct. Independants; 1890 Death of Vincent vanGogh, Exhibitions: March-May Independants; May outwards Salon des Artistes Francais; May outwards 1st exh. of the Societe Nationale des Beaux-Arts (founded as alternative to the Salon des Artistes Francais, with Meissonier as President, Puvis de Chavannes as Vice-President; often known as the Salon du Champ de Mars). 1891 Deaths of Theo vanGoghandSeurat.Gauguinleaves for Tahiti. Exhibitions: March-April Independants; May outwards Salon des Artistes Francais; May outwards Societe Nationale; Dec. Le Barc de Boutteville, 1st Exposition des Peintres Impressionnistes et Symbolistes. 1892 Exhibitions: Feb. Durand-Ruel, C.Pissarro, Monet; March-April Independants; May Le Barc de Boutteville, 2nd Exposition des Peintres Impressionnistes et Symbolistes; May outwards Salon des Artistes Francais; May outwards Societe Nationale; Nov. Le Barc de Boutteville, 3rd Exposition des Peintres Impressionnistes et Symbolistes; 1893 Death of Pere Tanguy. Vollard opens gallery in rue LaffitteGauguinis back from Tahiti. Exhibitions: March-April Independants; May outwards Salon des Artistes Francais; May outwards Societe Nationale; May (?)Le Barc de Boutteville, 4th Exposition des Peintres Impressionnistes et Symbolistes; Nov. Durand-Ruel,Gauguin,Cassatt, Dec. Le Barc de Boutteville, 5th Exposition des Peintres Impressionnistes et Symbolistes. 1894 Exhibitions: Jan. –Feb. Durand-Ruel, Guillaumin; March Durand-Ruel,Pissarro; March. Le Barc de Boutteville, 6th Exposition des Peintres Impressionnistes et Symbolistes; March-April Durand-Ruel, Redon, April-May Independants; April outwards Societe Nationale; May outwards Salon des Artistes Francais; May Durand-Ruel,Toulouse-Lautrec, Manet, Caillebotte (retrospective), July Le Barc de Boutteville,7th Exposition des Peintres Impressionnistes et Symbolistes; Nov. Le Barc de Boutteville, 8th Exposition des Peintres Impressionnistes et Symbolistes. 1895 Exhibitions: April-May Independants; April-May Le Barc de Boutteville, 9th Exposition des Peintres Impressionnistes et Symbolistes; April outwards Societe Nationale; May outwards Salon des Artistes Francais; May Durand-Ruel, Monet; Sept. Le Barc de Boutteville, 10th Exposition des Peintres Impressionnistes et Symbolistes; Dec.-Jan. 1896 Bing. Salon de l’Art Nouveau. 1896 Exhibitions: Jan. Durand-Ruel, Bonnard, Guillaumin, Morisot (retrospective); c. March. Le Barc de Boutteville, 11th Exposition des Peintres Impressionnistes et Symbolistes; April-May Independants; April-May Durand-Ruel, C.Pissarro, Renoir; April outwards Societe Nationale; May outwards Salon des Artistes Francais; Summer Le Barc de Boutteville, 12th Exposition des Peintres Impressionnistes et Symbolistes; Sept. Durand-Ruel, Puvis de Chavannes; Nov. Le Barc de Boutteville, 13th Exposition des Peintres Impressionnistes et Symbolistes. 1897 Exhibitions: April-May Independants; April outwards Salon des Artistes Francais; April outwards Societe Nationale; June-July Le Barc de Boutteville, 14th Exposition des Peintres Impressionnistes et Symbolistes; Dec. Le Barc de Boutteville, 15th Exposition des Peintres Impressionnistes et Symbolistes. 1898 Exhibitions: Feb.-March Durand-Ruel, Zandomeneghi; April Durand-Ruel, Guillaumin; April-June Independants; May outwards Salon des Artistes Francais; May outwards Societe Nationale; May Durand-Ruel, Moret; June Durand-Ruel, C.Pissarro. 1899 Exhibitions: April Durand-Ruel, C.Pissarro, Renoir, Sisley; May outwards Salon des Artistes Francais; May outwards Societe Nationale; May-June Durand-Ruel , Jongkind (retrospective); June-July Durand-Ruel, Puvis de Chavannes; Oct.-Nov. Durand-Ruel, Luce; Oct.-Nov. Independants. 1900 Picasso first visits Paris. Exhibitions: April Durand-Ruel , Redon; April outwards Salon des Artistes Francais; April-Oct. Exposition Universelle; Nov.-Dec. Durand-Ruel, Monet; Dec. . Independants. 1901 Death ofToulouse-Lautrec. Exhibitions: Jan. Feb. Durand-Ruel, C.Pissarro; March Societe Nouvelle; April Durand-Ruel, Valtat; April-May Independants; April-June Societe Nationale; May outwards Salon des Artistes Francais; May Durand-Ruel, Moret. 1902 Exhibitions: Match-May Independants; April-June Societe Nationale; May outwards Salon des Artistes Francais; May Durand-Ruel,Toulouse-Lautrec. June Durand-Ruel, Renoir, Roussel. 1903 Death ofGauguinin Marquesas Island and of CamillePissarro. Exhibitions: March Durand-Ruel, Redon; Match-May Independants; April-June Societe Nationale; May outwards Salon des Artistes Francais; Oct.-Dec. Salon d’Automne (1st exh.), Nov. Durand-Ruel, Zandomeneghi. 1904 Bernard visits Cezanne at Aix. Exhibitions: Feb-March Durand-Ruel, Moret, Feb.-March Independants; April Durand-Ruel, C.Pissarro; April-June Societe Nationale; May outwards Salon des Artistes Francais; Oct.-Nov. Salon d’Automne. 1905 Exhibitions: March-April Independants; April outwards Societe Nationale; May outwards Salon des Artistes Francais; Oct.-Nov. Salon d’Automne. 1906 Denis and Roussel visit Cezanne at Aix. Death of Cezanne and Carriere. Exhibitions: Feb.-March Durand-Ruel, Redon, Manet, Monet; March-April Independants; April outwards Societe Nationale; May outwards Salon des Artistes Francais; Oct.-Nov. Salon d’Automne . 1907 Exhibitions: March-April Independants; April Durand-Ruel,, Moret; April-June Societe Nationale; May outwards Salon des Artistes Francais; Oct.-Nov. Salon d’Automne. 1908 Exhibitions: March-May Independants; April-June Societe Nationale; Oct.-Nov. Salon d’Automne.





EXHIBITIONS	1883 Oct., Les XXfounded in Brussels by O. Maus and 20 Belgian artists. 1884 Brussels, Feb.-March 1st Les XX, inc.: (members) Ensor, Finch, Knopff, Rysselberghe; (invitees): Chase, Gervex, Heymans, J.Israela, Maris, Mauve. 1885 Brussels, Feb.-March 2nd Les XX, inc.: (members) Ensor, Finch, Knopff, Rysselberghe, Toorop, Vogels; (invitees): Cazin, Fantin-Latour, Mellery, Mesdag, Raffaëlli, Uhde. 1886 Brussels, Feb.-March 3rd Les XX, inc.: (members) Ensor, Finch, Knopff, Rysselberghe, Vogels; (invitees) Besnard, Breither, Degas (but refused to send), Monet, Monticelli, Redon, Renoir, Whistler, Zandomeneghi. 1887 March-May, Idependants, inc.: Angrand, Cross, Dubois-Pillet, Luce, Maurin, L. Pissarro, Redon, Henry Rousseau,Seurat,Signac. Brussels, Feb.-March 4th Les XX, inc.: (members) Ensor, Finch, Knopff, Rysselberghe, Toorop, Vogels;(invitees) Cazin, C.Pissarro, Raffaëlli, Rodin,Seurat, Sickert. 1888 March-May, Idependants, inc.: Angrand, Anquetin, Cross, Dubois-Pillet, Van Gogh, Luce, Maurin, L. Pissarro, Rousseau, Seurat,Signac. Brussels, Feb.-March 5th Les XX, inc.: (members) Ensor, Finch, Knopff, Rysselberghe, Toorop, Vogels;(invitees) : Anquetin, Blanche, Burne-jones (but refused to send), Degas (but refused to send), Dubois-Pillet, Forain, Guillaumin, Helleu, Mellery,Signac, Whistler. 1889 May onwards Societe Nationale, inc.: Aman-Jean, Beraud, Besnard,Carriere, Cazin, Dagnan-Bouveret, Fantin-Latour, Guillou, La Touche, Maignan, Martin, Maurin, Puvis de Chavannes, Raffaëlli, Roll, Tissot. Sept.-Oct. Idependants, inc.: Anquetin, Dubois-Pillet, Filiger, Van Gogh, Hayet, Luce, O'Conor, L. Pissarro, Rousseau,Seurat,Signac,Toulouse-Lautrec. Brussels, Feb.-March 6th Les XX, inc.: (members) Ensor, Finch, Knopff, Lemmen, Rodin, Rysselberghe, Toorop, Van de Velde; (invitees) : Besnard, Cross,Gauguin, Klinger, Luce, Monet, C.Pissarro,Signac, Steer, W.Stott. 1890 March-April, Idependants, inc.: Angrand, Anquetin, Boch Anna, Cross, Dubois-Pillet, Filiger, Finch, Van Gogh, Guillaumin, Luce, O'Conor, L. Pissarro, Rousseau, Rysselberghe,Seurat,Signac,Toulouse-Lautrec, Van de Velde. Brussels, Feb.-March 7th Les XX, inc.: (members) Ensor, Finch, Knopff, Rodin, Rysselberghe, Toorop, Van de Velde, Vogels; (invitees) : Cezanne, Dubois-Pillet, Van Gogh, Hayet, Mellery, L. Pissarro, Redon, Renoir, Segantini, Signac, Sisley,Toulouse-Lautrec. 1891 May onwards Societe Nationale, inc.: Beraud, Besnard, Blanche, Boldini, Carriere, Cazin, Claus, Cottet, Cross, Dagnan-Bouveret, Harrison, Hodler, La Touche, Liebermann, Puvis de Chavannes, Raffaëlli, Roll, Sargent, Whistler. Dec. Le Barc de Boutteville, 1st. Exposition des Peintres Impressionistes et Symbolistes, inc.: Anquetin, Bernard, Bonnard, Cross, Denis, Filiger,Gauguin, Van Gogh, Luce, Manet, Ranson, Roussel, Serusier,Signac,Toulouse-Lautrec, Vuillard. Brussels, Feb.-March 8th Les XX, inc.: (members) Ensor, Finch, Knopff, Rodin, Rysselberghe, Toorop, Van de Velde; (invitees) :Angrand, Chéret, Grane, Filiger,Gauguin, Van Gogh, Guillaumin, C.Pissarro,Seurat, Steer, Verster. 1892 March-April, Idependants, inc.: Angrand, Anquetin, Bernard, Bonnard, Boch Anna, Cross, Denis, Luce, Moret, O'Conor, L. Pissarro, Ranson, Rousseau, Rysselberghe,Seurat(retrospective),Signac, Toorop,Toulouse-Lautrec. May onwards Societe Nationale, inc.: Aman-Jean, Beraud, Besnard, Blanche, Boldini, Carriere, Cazin, Claus, Conder, Cottet, Cross, Dagnan-Bouveret, Guthrie, Harrison, Helleu, Hodler, La Touche, Lhermitte, Liebermann, Puvis de Chavannes, Raffaëlli, Whistler. May, Le Barc de Boutteville, 2nd. Exposition des Peintres Impressionistes et Symbolistes, inc.: Bernard, Bonnard, Cross, Denis, Luce, C.Pissarro, Serusier,Signac,Toulouse-Lautrec. Nov. Le Barc de Boutteville, 3nd. Exposition des Peintres Impressionistes et Symbolistes, inc.: Cross, Denis,Gauguin, C.Pissarro, Roussel, Serusier,Toulouse-Lautrec. Brussels, Feb.-March 9th Les XX, inc.:(members) Ensor, Finch, Knopff, Rodin, Rysselberghe, Signac, Toorop, Van de Velde, Vogels; (invitees) : Besnard,Cassatt, Denis, Horne, Image, Luce, Mellery, L.Pissarro,Seurat,Toulouse-Lautrec. 1893 March-April, Idependants, inc.: Amiet, Angrand, Anquetin, Bonnard, Cross, Denis, Luce, Moret, O'Conor, L. Pissarro, Ranson, Rousseau, Rysselberghe,Signac, Steinlen,Toulouse-Lautrec, Vallotton, Valtat. May onwards Societe Nationale, inc.: Aman-Jean, Blanche, Carriere, Claus, Conder, Cottet, Cross, Dagnan-Bouveret, Guthrie, Harrison, Helleu, Hodler, La Touche, Lavery, Liebermann, Puvis de Chavannes, Raffaëlli, Roll, Rothenstein, Simon, Tissot. May (?) Le Barc de Boutteville, 4th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Angrand, Anquetin, Bonnard, Cottet, Denis, Filiger, Guillaumin, C.Pissarro, Roussel, Serusier,Signac, Toorop,Toulouse-Lautrec, Vallotton, Vuillard. Dec. Le Barc de Boutteville, 5th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Angrand, Anquetin, Bonnard, Chéret, Conder, Cottet, Denis,Gauguin, Guillaumin, Lacombe, Luce, Moret, Ranson, Roussel, Serusier,Toulouse-Lautrec, Vuillard. Brussels, Feb.-March 10th Les XX, inc.: (members) Ensor, Finch, Knopff, Rodin, Rysselberghe,Signac, Toorop, Van de Velde; (invitees) : Bernard, Besnard, Cross, Madox Brown, Steer, Thorn Prikker,Toulouse-Lautrec. 1894 March Le Barc de Boutteville, 6th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Anquetin, Bonnard, Conder, Cottet, Denis, Filiger,Gauguin, Guillaumin, Hayet, Lacombe, O'Conor, Ranson, Seguin, Serusier, Vuillard. April-May, Idependants, inc.: Amiet, Angrand, Cross, Denis, Luce, Moret, L. Pissarro, Rousseau, Signac,Toulouse-Lautrec, Valtat. May onwards Societe Nationale, inc.: Aman-Jean, Beraud, Besnard, Blanche, Carriere, Cazin, Claus, Conder, Cottet, Dagnan-Bouveret, Dauchez, Guthrie, Harrison, Helleu, Hodler, La Touche, Lavery, Liebermann, Puvis de Chavannes,Roll, Sargent, Simon, Tissot, Whistler. July Le Barc de Boutteville, 7th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Angrand, Anquetin, Bonnard, Chéret, Conder, Denis, Guillaumin, Hayet, Moret, O'Conor,Toulouse-Lautrec. Nov. Le Barc de Boutteville, 8th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Angrand, Anquetin, Bonnard, Chéret, Cottet, Denis, Filiger, Forbes-Robertson, Guillaumin, Hayet, Lacombe, Maurin, Moret, O'Conor, Seguin, Serusier,Toulouse-Lautrec. 1895 April-May, Idependants, inc.: Angrand, Cross, Forbes-Robertson, Lacombe, Luce, Moret, Rousseau, Rysselberghe, Serusier,Signac,Toulouse-Lautrec. April-May, Le Barc de Boutteville, 9th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Anquetin, Denis, Forbes-Robertson, Hayet, Moret, Ranson, Serusier. April onwards Societe Nationale, inc.: Aman-Jean, Besnard, Blanche, Carriere, Cazin, Claus, Cottet, Dauchez, Denis, Evenepoel, Guthrie, Harrison, Helleu, Hodler, La Touche, Lavery, Liebermann, Puvis de Chavannes,Roll, Simon, W. Stott. Sept. Le Barc de Boutteville, 10th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Angrand, Anquetin, Forbes-Robertson, Hayet, Maillol, O'Conor, Seguin. 1896 March, Le Barc de Boutteville, 11th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Denis, Lacombe, Maillol, Serusier. April-May, Idependants, inc.: Cross, Luce, Munch, Rousseau,Signac, Valtat. April onwards Societe Nationale, inc.: Aman-Jean, Beraud, Blanche, Boldini, Cazin, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, Evenepoel, Guthrie, Harrison, La Touche, Lavery, Le Sidaner, Liebermann, Matisse, Puvis de Chavannes, Raffaëlli, Roll, Sargent, Simon, W. Stott. Summer, Le Barc de Boutteville, 12th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Denis, Guillaumin, Roussel. Nov. Le Barc de Boutteville, 13th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Roussel. 1897 April-May, Idependants, inc.: Cross, Luce, Munch, Rousseau,Signac,Toulouse-Lautrec, Valtat. April onwards Societe Nationale, inc.: Aman-Jean, Besnard, Blanche, Boldini, Carriere, Cazin, Claus, Cottet, Dagnan-Bouveret, Denis, Evenepoel, Guthrie, Harrison, Helleu, Hodler, La Touche, Lavery, Le Sidaner, Matisse, Raffaëlli, Roll, Simon, W. Stott, Whistler. June-July, Le Barc de Boutteville, 14th. Exposition des Peintres Impressionistes et Symbolistes. Dec. Le Barc de Boutteville, 15th. Exposition des Peintres Impressionistes et Symbolistes,inc.:Toulouse-Lautrec. 1898 April-June, Idependants, inc.: Cross, Luce, Rousseau,Signac. May onwards Societe Nationale, inc.: Aman-Jean, Anquetin, Besnard, Blanche, Carriere, Cazin, Claus, Conder, Cottet, Dagnan-Bouveret, Dauchez, Denis, Evenepoel, La Touche, Le Sidaner, Levy-Dhurmer, Puvis de Chavannes, Raffaëlli, Sargent, Simon. 1899 May onwards Societe Nationale, inc.: Beraud, Besnard, Blanche, Carriere, Cazin, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, Evenepoel, Guthrie, La Touche, Le Sidaner, Matisse, Puvis de Chavannes, Raffaëlli, Roll, Simon, W. Stott. Oct.-Nov. Idependants, inc.: Cezanne, Cross, Luce,Signac. 1900 April-Oct. Exposition Universelle. Exposition centennale de i'art francais, 1800-1889,inc.: Bastien-Lepage, Beraud, Besnard, Boudin, Carriere, Cazin, Cezanne, Degas, Fantin-Latour,Gauguin, Guillaumin, Maignan, Manet, Maurin, Monet, Monticelli, Moreau, Morisot, C.Pissarro, Puvis de Chavannes, Raffaëlli, Renoir, Roll,Seurat, Sisley, Vallotton, Exposition decennale des Beaux-Arts, 1889-1900, inc.: Adler, Aman-Jean, Beraud, Besnard, Blanche, Carriere, Cazin, chabes, Cheret, Cottet, Dagnan-Bouveret, Dauchez, Guillou, La Touche, Le Sidaner, Levy-Dhurmer, Maignan, Martin, Raffaëlli, Roll, Simon.German sectioninc.: Klackreuth, Liebermann, Slevogt, Von Stuck.Austrian sectioninc.: Klimt, Kupka.Belgian sectioninc.: Claus, Ensor, Evenepoel, Khnopff, Vogels.Dutch sectioninc.:Toorop.American sectioninc.: Harrison, Sargent, Whistler. British sectioninc.: Clausen, Stanhope, La Thangue, Lavery, Melville, Osborne, Rothenstein,E. Stott.Italian sectioninc.: Boldini, Morbelli, Pellizza, Segantini.Swiss sectioninc.: Amiet, Hodler. Dec. Idependants, inc.: Luce, Puy, Schuffenecker,Signac. 1901 April-May, Idependants,inc.: Angrand, Boch Anna, Bonnard, Cezanne, Cross, Denis, Ensor, Lacombe, Luce, Matisse, Ranson, Rousseau, Roussel, Rysselberghe, Schuffenecker, Serusier, Sigmac, Vallotton, Valtat, Vuillard. April-June Societe Nationale,inc.: Aman-Jean, Anquetin, Beraud, Bernard, Blanche, Carriere, Cazin, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, La Touche, Lavery, Le Sidaner, Raffaëlli, Simon 1902 March-May, Idependants, inc.: Bernard, Bonnard, Cezanne, Cross, Denis, Luce, Marquet, Matisse, Rousseau, Roussel, Rysselberghe,Signac,Toulouse-Lautrec(retrospective), Vallotton, Valtat, Vuillard. April-June Societe Nationale, inc.: Aman-Jean, Anquetin, Bernard, Besnard, Blanche, Carriere, Claus, Cottet, Dagnan-Bouveret, Dauchez, Harrison, Hodler, La Touche, Lavery, Le Sidaner, Raffaëlli, Roll, Sargent, Sickert, Simon, Whistler. 1903 March-May, Idependants, inc.: Angrand, Bonnard, Camoin, Cross, Denis, Dufy, Forain, Friesz, Luce, Marquet, Matisse, Munch, O'Conor, Ranson, Rousseau, Roussel, Rysselberghe, Schuffenecker, Sickert,Signac, Vallotton, Vuillard. April-June, Societe Nationale, inc.: Aman-Jean, Anquetin, Beraud, Bernard, Besnard, Blanche, Boldini, Bonnard, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, Harrison, La Touche, Le Sidaner, Maillol, Raffaëlli, Roll, Sargent, Sickert, Simon, Vallotton. Oct.-Dec. Salon d'Automne (1st exh.), inc.: Adler, Aman-Jean, Besnard, Blanche, Bonnard, Carriere,Gauguin, Guillaumin, Harrison, Marquet, Matisse, Moret, O'Conor, Rouault, Von Stuck, Vallotton, Vuillard. 1904 Feb.-March, Idependants, inc.: Bonnard, Camoin, Cross, Delaunay, Denis, Van Dongen, Dufy, Friesz, Luce, Marquet, Matisse, Munch, O'Conor, Ranson, Rousseau, Roussel, Rysselberghe, Schuffenecker, Serusier,Signac, Vallotton, Valtat, Vuillard. April-June, Societe Nationale, inc.: Aman-Jean, Bakst, Beraud, Bernard, Besnard, Blanche, Boldini, Carriere, Claus, Conder, Cottet, Dagnan-Bouveret, Dauchez, Denis, Harrison, La Touche, Lavery, Le Sidaner, Raffaëlli, Roll, Rouault, Sargent, Simon, Whistler. Oct.-Nov. Salon d'Automne,inc.: Adler, Bonnard, Camoin, Carriere, Cezanne, Delaunay, Denis, Guillaumin, Kandinsky, Lavery, Liebermann, Maillol, Marquet, Matisse, Moret, O'Conor, Puvis de Chavannes, Redon, Renoir, Rouault, Roussel,Toulouse-Lautrec, Vallotton, Valtat, Van Dongen, Vuillard, Zandomeneghi. 1905 March-April, Idependants, inc.: Angrand, Bernard, Bonnard, Camoin, Cross, Delaunay, Denis, Derain, Van Dongen, Dufy, Friesz, Van Gogh, Herrmann, Kollwitz, Lacombe, Luce, Marquet, Matisse, Munch, O'Conor, Rouault, Rousseau, Roussel, Rysselberghe, Serusier,Seurat, Sickert,Signac, Vallotton, Valtat, Vlaminck, Vuillard. April, Societe Nationale, inc.: Aman-Jean, Anquetin, Beraud, Besnard, Boldini, Carriere, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, Guthrie, Harrison, Henry, La Touche, Lavery, Le Sidaner, Raffaëlli, Roll, Sargent, Simon. Oct.-Nov. Salon d'Automne, inc.: Bonnard, Camoin, Carriere, Cezanne, Derain, Van Dongen, Duchamp-Villon, Friesz, Guillaumin, Ingres, Jawlensky, Kandinsky, Lavery, Maillol, Manet, Marquet, Matisse, Moret, O'Conor, Picabia, l.Pissarro, Raffaëlli, Redon, Renoir, Rouault, Rousseau, Roussel, Sickert, Vallotton, Valtat, Vlaminck, Vuillard. 1906 March-April, Idependants, inc.: Angrand, Bernard, Bonnard, Braque, Camoin, Cross, Delaunay, Denis, Derain, Van Dongen, Dufy, Friesz, Herrmann, Lacombe, Leger, Luce, Marquet, Matisse, Munch, O'Conor, Ranson, Rouault, Rousseau, Roussel, Rysselberghe, Schuffenecker, Serusier, Vallotton, Valtat, Vlaminck, Vuillard. April onwards, Societe Nationale, inc.: Aman-Jean, Beraud,Bernard, Besnard, Blanche, Boldini, Carriere, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, Harrison, La Touche, Lavery, Le Sidaner, Roll, Simon. Oct.-Nov. Salon d'Automne, inc.: Bonnard, Brancusi, Camoin, Carriere, Cezanne, Delaunay, Derain, Van Dongen, Dufy, Friesz,Gauguin, Guillaumin, Kandinsky, Kupka, Lavery, Marquet, Matisse, Moret, O'Conor, Redon, Renoir, Rossi, Rouault, Rousseau, Roussel, Sickert, Vallotton, Valtat, Vlaminck, Vuillard; plus exh. of Russian art, organized by Diaghilev. 1907 March-April, Idependants, inc.: Amiet, Angrand, Braque, Camoin, Cross, Delaunay, Derain, Dufy, Gilman, Gore, Herrmann, Kandinsky, Luce, Matisse, O'Conor, Ranson, Rousseau, Roussel, Schuffenecker, Serusier,Signac, Vallotton, Vuillard. April-June, Societe Nationale, inc.: Aman-Jean, Anquetin, Beraud, Besnard, Blanche, Claus, Dagnan-Bouveret, Dauchez, Denis, Harrison, La Touche, Lavery, Le Sidaner, Raffaëlli, Roll, Simon. Oct.-Nov. Salon d'Automne, inc.: Bakst, Bonnard, Braque, Camoin, Cezanne, Delaunay, Derain, Dufy, Fergusson, Friesz, Guillaumin, Kandinsky, Kupka, Lavery, Leger, Marquet, Matisse, Moret, Redon, Rouault, Rousseau, Sickert, Vallotton, Valtat, Vlaminck; plus belgian exh. inc.: Claus, ensor, Evenelopoel, Finch, Khnopff, Mellery, Rops, Rysselberghe. 1908 March-April, Idependants, inc.: Amiet, Angrand, Braque, Camoin, Cross, Derain, Finch, Gilman, Gore, Kandinsky, Luce, Munch, O'Conor, Rousseau, Roussel, Schuffenecker, Serusier, Sickert,Signac, Vallotton, Vlaminck. April-June, Societe Nationale, inc.: Aman-Jean, Anquetin, Beraud, Bernard, Blanche, Claus, Cottet, Dauchez, Denis, Fergusson, Harrison, La Touche, Lavery, Le Sidaner, Raffaëlli, Roll, Simon. Oct.-Nov. Salon d'Automne, inc.: Bakst, Bonnard, Camoin, Denis, Derain, Van Dongen, Duchamp, Fergusson, Friesz, El Greco,Kandinsky, Lavery, Leger, Marquet, Matisse, Monticelli, Moret, O'Conor, Ranson, Rouault, Sickert, Vallotton, Valtat, Vuillard, Vlaminck. Later Exhibitions 29 September 2013 - 6 January 2014Peggy Guggenheim Collection,THE AVANT-GARDES OF FIN-DE-SIéCLE PARIS: SIGNAC, BONNARD, REDON, AND THEIR CONTEMPORARIES 16 September 2016 - 8 January 2017Albertina, Vienna,Seurat, Signac, Van Gogh. Ways of Pointilism. 11 August 2017– 11 March 2018Kunstmuseum Bern,VAN GOGH TO C3ò4ZANNE, BONNARD TO MATISSE THE COLLECTION HAHNLOSER





ARTISTS	Braque, Georges Braque's involvement in Fauvism was indeed influenced by the older painter, but his approach was distinct. While he appreciated pure colors and bright tones—albeit in a more restrained palette—his artistic method was more methodical and focused on summary and synthesis. Braque emphasized structural rather than decorative effects in his compositions, which set his work apart from that of many of his Fauvist contemporaries. This foundational approach in Braque's art ultimately led him toward a greater objectivity reminiscent of Cézanne, paving the way for his later development of Cubism. His ability to distill forms and structures while maintaining a sensitivity to color showcased his unique trajectory within the Fauvist movement and beyond, marking a significant evolution in his artistic language. Derain, André Derain was often associated with Vlaminck, with whom he co-founded the Chatou group—an informal ensemble limited to just the two artists, both of whom lived in the small suburban town of Chatou. Their friendship began in 1900 during a chance encounter in an almost empty compartment of a Paris train. Although Derain initially collaborated closely with Vlaminck, he was also significantly influenced by Matisse, whose impact on his style and methods was profound. Derain found himself positioned between these two influences. He was deeply passionate about painting but struggled to fully harness his talent, often relying on the examples and guidance of established artists like Monet, Signac, Gauguin, Van Gogh, Lautrec, and the Nabis. His early work displayed remarkable virtuosity and an involvement with a fragmented style influenced by Divisionism. However, this gradually shifted towards a technique characterized by bold outlines and vibrant, smooth applications of color, particularly oranges, vermilions, and pinks. Between 1904 and 1908, especially during his time in Collioure and London, Derain produced some of the most notable works of the Fauvist movement. Yet, feeling constrained by Fauvism and sensing a need for artistic evolution, he ultimately distanced himself from the group. This departure set him on a new artistic journey, leading him towards the development of Cubism, marking a significant transition in his creative career. Dongen, Kees van In 1908, the German "Brücke" movement sought contact with this painter, who had a rich background informed by his early years in Holland. This upbringing fostered a lasting admiration for Van Gogh, as well as a keen ability for observation and character exploration. Initially starting within the Impressionist school, his focus shifted as he moved to Paris, where he fully immersed himself in the vibrant atmosphere of Montmartre. His draughtsmanship flourished in this dynamic environment, one that had previously inspired artists like Forain and Toulouse-Lautrec. Working for the periodical "Assiette au Beurre," he sketched lively portraits of patrons at open-air cafés, capturing the essence of urban life. This experience prepared him to engage with the Fauvism movement, with which he was most closely associated from 1906 to 1912. Like his Fauvist contemporaries, he focused primarily on portraits, depicting clowns, danseuses, and nudes with bold, often crude colors and jarring tonal contrasts. His artistic vision found more resonance in the vibrant tapestry of city life, fashion, and the demi-monde than in the portrayal of landscapes, reflecting a fascination with the modern human experience that defined much of his work during this period. Dufy, Raoul In 1900, Dufy arrived in Paris alongside Braque and quickly connected with Othon Friesz at the École des Beaux-Arts, where Friesz had been residing since 1898. This trio from Le Havre became significant contributors to the Fauvist movement, making a lasting mark on its development. Dufy's initial influences were from the Impressionists, and unlike some of his fellow Fauves, he remained deeply faithful to their spirit, continuously celebrating the joys of the moment and the present in all its varied forms. From 1900 to 1904, Dufy focused on capturing external appearances on canvas. Rather than losing himself entirely in his subjects, he cultivated an approach that emphasized the pleasure derived from his experiences. This inclination led to a gradual evolution in his draughtsmanship, which became more incisive and succinct, favoring abstraction over meticulous transcription. As a colorist, he adopted a more weighty and deliberate palette than the Impressionists, from whom he consciously chose not to embrace the Divisionist techniques. Ultimately, after carefully analyzing and reconstituting his sensations, Dufy naturally found himself aligning with the Fauves, whose bold colorism and expressive brushwork resonated with his artistic sensibilities. His transition into the Fauvist fold marked a significant moment in his evolution as an artist, underscoring the importance of pleasure in his work while simultaneously pushing the boundaries of color and form. Marquet, Albert Marquet was a contemporary of Matisse, both having studied at L’École des Arts Décoratifs, where their artistic journeys began. Later reacquainting at Gustave Moreau's studio, Marquet heeded Moreau's advice by immersing himself in art galleries and sketching scenes from the street. By 1899, they were seen working together in the Jardins du Luxembourg and at Arcueil, and in 1900, the duo collaborated to adorn the ceiling of Le Grand Palais. Their artistic partnership continued to flourish, leading to a joint exhibition at the Salon d’Automne in 1901. In 1906, Marquet made his own pilgrimage to Saint-Tropez, a locale that would influence many artists of the time. While Marquet's style gained confidence and assurance over the years, it remained relatively stable; he presented a more subdued interpretation of Fauvism. His oeuvre includes vibrant nudes and portraits that possess a remarkable sense of suggestion and paraphrase. However, much of Marquet's work focuses on well-structured landscapes and scenes of Paris, where he often reduced subjects to their essential forms. His powerful syntheses drew directly from nature, indicating that his evolution in style was primarily informed by the subjects he chose rather than a radical change in technique or approach. Through his work, Marquet demonstrated a unique ability to distill the essence of his surroundings while maintaining a deep connection to the natural world. Matisse, Henri Matisse arrived in Paris in 1892 and promptly enrolled in evening classes at the École des Arts Décoratifs. By 1893, he had become a pupil of Gustave Moreau, an influential figure who would guide his early development. Matisse exhibited his work at the Société Nationale des Beaux-Arts in 1897, where one of his canvases was purchased by the State—an encouraging start to his artistic career. During this initial period, Matisse's painting was characterized by everyday or intimate subjects, marked by careful attention to light and meticulously observed values. However, a significant shift occurred in 1898 when he began studying the works of Turner at the Louvre upon the advice of his temporary mentor, Pissarro. This exploration into Turner's vibrant color palette led to the introduction of recurrent tones of chrome, emerald, and madder that began to enrich Matisse’s canvases. In 1899, influenced by Cézanne, Matisse shifted his focus toward the problems of structure, adopting a method similar to Cézanne’s by closely examining tonal relationships. Despite this new emphasis, his palette remained relatively muted during this phase. In June 1904, Matisse traveled to Saint-Tropez, where he encountered Neo-Impressionists Signac and Cross, who briefly introduced him to their techniques. This Divisionism experience, though short-lived, proved crucial for his development and culminated in one of his first masterpieces, a series of nudes on the beach entitled Luxe, Calme et Volupte. After 1905, Matisse moved away from Neo-Impressionist theory, opting for a more vigorous application of color and form, which led him into his Fauvist period—a bold and expressive chapter that lasted until around 1912. During this time, he began to embrace a more abstract style, incorporating elements of Cubism that further defined his artistic evolution. Through these transformative years, Matisse developed a distinctive voice that would position him as one of the leading figures in modern art. Vlaminck, Maurice de Vlaminck’s artistic approach was strikingly individualistic, marked by a fierce resistance to any form of constraint, including the regimentation often associated with established art schools and cultural norms. This spirit led him to disregard the teachings of the Beaux-Arts, which he saw as too restrictive. In this way, Vlaminck's philosophy diverged from the balance that Matisse achieved between personal vision and the inherent demands of painting. Vlaminck immersed himself in a state of raw subjectivity, aspiring to capture sensations in an immediate and unfiltered manner. His artistic journey took a significant turn between 1901, the year he discovered Van Gogh—a figure he claimed to love more than his own father—and 1907, when he began to feel the influence of Cézanne. During this transformative period, Vlaminck's instinct as a painter enabled him to create some of the most significant works within the Fauvist movement. His subjects ranged from portraits and interiors to landscapes, all of which captivated his interest. Vlaminck employed pure colors directly from the tube, favoring the primary colors of red, yellow, and blue. His technique involved thick applications of paint, often applied in stubby lines and squiggles, with outlines accented by colored lines. This rapid, vigorous execution perfectly matched his fervent artistic temperament. While Vlaminck’s Fauvism was characterized by vibrant color and dynamic brushwork, it also carried an Expressionist quality. This blend of styles allowed him to convey intense emotional experiences, ultimately contributing to his unique voice within the Fauvist movement and modern art as a whole. His work stands as a testament to the power of personal expression and the immediacy of sensation in art.





GALLERY

	André Derain , Self-portrait in studio, c.1903, National Gallery of Australia


	Albert Marquet,Fécamp(The Beach at Sainte-Adresse), 1906, Private collection


	Maurice de Vlaminck, The River Seine at Chatou, 1906, The Metropolitan Museum of Art


	Raoul Dufy, Travelling Show, c. 1906, E.G. BZhrle Collection, Zurich


	Georges Braque, Landscape at L'Estaque, autumn 1906, Art Institute of Chicago






BIBLIOGRAPHY	Art: Architecture, Painting, Sculpture,Graphics, Techniques, Bath, 2011. Essential History of Art, Bath , 2001. Jalard, Michel-Claude: Post-Impressionism, Paris, 1966. Shone, Richard: The Post-Impressionism, London, 1979.





BOOKS	Section POST-IMPRESSIONISM in LIBRARY





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