Fauvism

An early twentieth century art movement and

style of painting in France. The name Fauves,
French for "Wild Beasts," was given to artists
adhering to this style because it was felt that
they used intense colors in a violent,
uncontrolled way. The leader of the Fauves
was Henri Matisse (French, 1869-1954).

A New Approach to Color in Art

Inspired by
Fauvism


Paul Gauguin (1884-1903)

Vision After The Sermon (Jacob Wrestling with an Angel)
(oil on canvas, 1888)
National Galleries of Scotland, Edinburgh
The Roots of Fauvism
Fauvism has its roots in
the post-impressionist
paintings of Paul Gauguin.
It was his use of symbolic
colour that pushed art
towards the style of
Fauvism.

Gauguin believed that
colour had a mystical
quality that could express
our feelings about a
subject rather than simply
describe a scene.

Gauguin proposed
that colour had a
symbolic vocabulary
which could be used
to visually translate a
range of emotions.
By breaking the
established descriptive
role that colour had in
painting, he inspired the
younger artists of his day
to experiment with new
possibilities for colour in
art.
Two Fauvist Artists: Matisse and Derain

Henri Matisse (1869-1954)
The Open Window, Collioure (oil on canvas, 1905)
The National Gallery of Art, Washington
Andr Derain (1880-1954)
Portrait of Henri Matisse (oil on canvas, 1906)
The Tate Gallery, London
Andr Derain (1880-1954)
Turning Road at L'Estaque (oil on canvas, 1906)
Museum of Fine Arts, Houston Texas
Fauvism Notes
Fauvism was a style of painting developed in
France at the beginning of the 20th century by Henri
Matisse and Andr Derain.
The artists who painted in this style were known as
'Les Fauves'.
The title 'Les Fauves' (the wild beasts) came from a
sarcastic remark by the art critic Louis Vauxcelles.
Les Fauves believed that colour should be used to
express the artist's feelings about a subject, rather
than simply to describe what it looks like.
Fauvist paintings have two main characteristics:
simplified drawing and exaggerated colour.
Les Fauves were a great influence on the German
Expressionists.
Henri Matisse
Green Stripe (Madame Matisse)
Harmony in Red
The Dance
"We move towards serenity through the simplification of ideas
and form.......Details lessen the purity of lines, they harm the
emotional intensity, and we choose to reject them. Matisse
Lydia Delectorskya
Matisse
Forms, White torso and blue torso
Lagoon
By 1951, the artist had stopped painting and devoted himself exclusively to making large-scale paper cutouts and
drawings. Later compositions, such as this one, focused on larger, bolder, and more simplified shapes. Here, the
abstracted "snow flowers" are a mixture of white plant and petal forms, placed against a patchwork of bold color.
Although they appear to be wholly imaginary, one small plant growing up from the bottom center edge suggests that
Matisse's title and his shapes were inspired by the snowdrop, a small frosty-white, bell-shaped flower that blooms in
early spring.

The Snail
With the aid of his assistants, Matisse invented a
systematic approach to the technique of his cut outs..
First, his studio assistants brushed Linel gouaches on
sheets of white paper.
Once dry a stockpile of colored paper were available to
Matisse at any given time. He often quite
spontaneously cut out elements and placed them into
compositions. As the play between consciously sought-
for and the fortuitously-arrived at effects worked into
their balances the projects moved toward completion. In
the meantime many of them were posted about the
studio walls.
The Linel gouaches were employed because they
"directly corresponded to commercial printers ink
colors" (Cowart 17) and would reproduce perfectly. The
cut-outs pulsate with energy. The bright, vibrant Linel
colors, deep and Light Japanese Green, vert Emeraude
(Imitation veridian), Deep Cadmium Yellow, Deep
Cadmium Red, Deep Persian Red, Persian Violet, and
Yellow Ochre (Cowart 274), keep leaping in front of our
eyes.
Technique of the Cut Outs
Expressionism
Early 20
th
Century
Expressionism
1905-1925
An art movement dominant in
Germany from 1905-1925, especially
Die Brcke and Der Blaue Reiter,
which are usually referred to as
German Expressionism, anticipated
by Francisco de Goya (Spanish, 1746-
1828), Vincent van Gogh (Dutch,
1853-1890), Paul Gauguin (French,
1848-1903) and others.

Expressionism - in the more general
sense A quality of inner experience,
the emotions of the artist
(expressive qualities) communicated
through emphasis and distortion,
which can be found in artworks of
any period.



James Ensor
Edvard Munch
Emile Nolde
Georges Rouault
Ernst Ludwig
Erich Heckel
Max Beckmann
Karl Schmidt-Rottluff
Egon Schiele
Otto Dix
George Grosz
and more
James Ensor
Belgian Artist
Christs Entry into Brussels
James Ensor
Belgian, Ostend, 1888



James Ensor took on religion, politics, and art in this scene of Christ entering contemporary Brussels in a Mardi Gras parade. In
response to the French pointillist style, Ensor used palette knives, spatulas, and both ends of his brush to put down patches of
color with expressive freedom. He made several preparatory drawings for the painting, including one in the J. Paul Getty
Museum's collection.

Ensor's society is a mob, threatening to trample the viewer--a crude, ugly, chaotic, dehumanized sea of masks, frauds, clowns,
and caricatures. Public, historical, and allegorical figures along with the artist's family and friends made up the crowd. The
haloed Christ at the center of the turbulence is in part a self-portrait: mostly ignored, a precarious, isolated visionary amidst
the herdlike masses of modern society. Ensor's Christ functioned as a political spokesman for the poor and oppressed--a
humble leader of the true religion, in opposition to the atheist social reformer Emile Littr, shown in bishop's garb holding a
drum major's baton leading on the eager, mindless crowd.

After rejection by Les XX, the artists' association that Ensor had helped to found, the painting was not exhibited publicly until
1929. Ensor displayed Christ's Entry prominently in his home and studio throughout his life. With its aggressive, painterly style
and merging of the public with the deeply personal, Christ's Entry was a forerunner of twentieth-century Expressionism.

Christs Entry into Brussels
Belgian, Ostend, 1888



Ensor's self portrait
Two Skeletons Fighting Over a Hanged Man
Edvard Munch
Norwegian Artist
Edvard Munch
(b. Dec. 12, 1863,Norway d. Jan. 23,
1944,)

Norwegian painter and printmaker
whose intense, evocative treatment of
psychological and emotional themes
was a major influence on the
development of German
Expressionism in the early 20th
century. His painting The Cry
(1893) is regarded as an icon
of human anguish.
His work often included the symbolic
portrayal of such themes as misery,
sickness, and death. The Cry, probably
his most familiar painting, is typical in
its anguished expression of isolation
and fear.
Munch's parents, a brother, and a
sister died while he was still young,
which probably explains the bleakness
and pessimism of much of his work.
Paintings such as The Sick Child (1886),
Vampire (1893-94), and Ashes (1894)
show his preoccupation with the
darker aspects of life.


The Scream
Painted in 1893, The Scream is Munch's most famous work and one of the
most recognizable paintings in all art. It has been widely interpreted as
representing the universal anxiety of modern man. Painted with broad bands
of garish color and highly simplified forms, and employing a high viewpoint, the
agonized figure is reduced to a garbed skull in the throes of an emotional
crisis. With this painting, Munch met his stated goal of the study of the soul,
that is to say the study of my own self.

Munch wrote of how the painting came to be: "I was walking down the
road with two friends when the sun set; suddenly, the sky turned as red
as blood. I stopped and leaned against the fence, feeling unspeakably
tired. Tongues of fire and blood stretched over the bluish black fjord. My
friends went on walking, while I lagged behind, shivering with fear. Then I
heard the enormous, infinite scream of nature." He later described the
personal anguish behind the painting, for several years I was almost
madYou know my picture, The Scream? I was stretched to the limit
nature was screaming in my blood After that I gave up hope ever of
being able to love again.
Madonna
Dead Mother
Vampire
Puberty
the Nazis labeled Munch's work "degenerate art" (along with
Picasso, Paul Klee, Matisse, Gauguin and many other
modern artists) and removed his 82 works from German
museums.


Hitler announced in 1937,


For all we care, those prehistoric Stone Age culture
barbarians and art-stutterers can return to the caves of their
ancestors and there can apply their primitive international
scratching.
[

Egon Schiele
Austrian Artist
Dead Mother
Egon Schiele (12 June 1890 31
October 1918) was an Austrian
painter. A protg of Gustav Klimt,
Schiele was a major figurative painter
of the early 20th century.
Schiele's work is noted for its intensity,
and the many self-portraits the artist
produced. The twisted body shapes and
the expressive line that characterize
Schiele's paintings and drawings mark the
artist as an early exponent of
Expressionism, although still strongly
associated with the art nouveau
movement.

Style of work:
Egon Schiele is known for being
grotesque, erotic, pornographic, and
disturbing, focusing on sex, death,
and discovery. He focused on
portraits of others as well as himself.
He showed agony, poverty and
death.
Agony
Work is characterized by fragility and tension
Blind Mother
Death and The Maiden
Hermits. 1912. Oil on canvas. 71 1/4 x 71 1/4".
Self Portraits
Max Beckmann
German Expressionist
Departure
The Night

Max Beckman (1884-1950), "Christ and the Woman Taken in
Adultery"
(1917), Saint Louis Art Museum, USA.
Emile Nolde
German Expressionist
Lost Paradise
Dancers with Candles
The Prophet
Pentecost
Sea Red Sun
Arts and Crafts Movement
1850- 1900

Pioneer of this Movement:
William Morris
By the middle of the 18th
century the cottage system
was beginning to disappear as
a result of a series of
important inventions. Hand
equipment could not compete
with the costly new machines,
which were power-operated
and had to be installed in large
buildings, called factories.
Spinners and weavers were
hired to work in factories
instead of at home. The
economic system of capitalism
was thus developing, with the
means of production owned
by persons who hired workers.

England excelled in the making of woollen
and cotton cloth. The new demand at home
as well as in the colonies caused steady
growth of English textile manufacturing. The
method of manufacture on the eve of the
Industrial Revolution was the cottage,
domestic, or putting-out, system .

Merchants bought raw wool or cotton and
put it out in the cottages of workers who
spun it into thread and wove it into cloth.
Each process required a different set of
laborers, who did the work on their own
spinning wheels or hand looms.

Industrialization of England

Revolutionary developments in the textile
industry:

Flying Shuttle

Spinning Jenny
Cotton Jin



The Arts and Crafts Movement (1850-1900) was a reaction
against the Industrial Revolution. The cities and towns grew to accommodate the
expanding industries and the influx of workers from the countryside looking for
employment. However, living standards gradually deteriorated and
industrialisation left people with a sense that their life had changed for the worst.
Many had sacrificed a rural lifestyle 'in England's green and pleasant land' for the
sake of a job in the 'dark Satanic mills' of the Industrial Revolution. As a result,
they lost that feeling of security and belonging which comes from living in smaller
communities.
The 'dark Satanic mills' of the Industrial Revolution

Industrial Revolution, the change from the
use of hand methods of manufacturing to
machine methods.

This change, which began in England about
1750 and later spread to other countries,
is called a revolution because it brought
vast changes in the way people work and
live. It created an industrialized society
one in which large-scale mechanized
manufacturing replaced farming as the
main source of jobs.

Progress in technology and in industrial
development has been almost continuous
since the Industrial Revolution began. Since
1900, and particularly since World War II,
industry and technology have advanced at
an ever-increasing rate. In a sense, the
revolution that began around 1750 has
never ended.

The term industrial revolution
was originated by J. A.
Blanqui, a 19th-century
French economist. The term
came into popular use after
Arnold Toynbee, a British
economist, published the
book The Industrial
Revolution in 1884.



THE ARTS AND CRAFTS
MOVEMENT (ACM) aimed to
promote a return to hand-
craftsmanship and to assert the
creative independence of
individual craftspeople.

It was a reaction against the
industrialised society that had
boomed in Britain in the
Victorian period, and aimed for
social as well as artistic reform.

Its example was followed in
other countries, particularly the
U.S.A. After the 1914-18 war,
other artistic trends overtook
the ACM, and it declined.
Artichoke by William Morris


The Ideals of the Arts and Crafts
Movement
The members of the Arts and Crafts Movement included artists,
architects, designers, craftsmen and writers. They feared that
industrialisation was destroying the environment in which
traditional skills and crafts could prosper, as machine
production had taken the pride, skill and design out of the
quality of goods being manufactured.
They believed that hand crafted objects were
superior to those made by machine and that the rural
craftsman had a superior lifestyle to those who slaved
in the urban mills and factories. They were convinced that
the general decline of artistic standards brought on by
industrialisation was linked to the nation's social and moral
decline.




[William Morris wallpaper featuring acanthus
leaves, c. 1875.]



William Morris

William Morris was a leading member of the Arts
and Crafts Movement.

Morris is mostly known as a designer of patterns for
wallpaper and textiles.

Morris was also an artist, designer, printer,
typographer, bookbinder, craftsman, poet, writer and
champion of socialist ideals.

Morris believed that the art and design of his own time
was inferior and unworthy. He felt that this was due to
the poor quality of life during the Industrial Revolution.

Morris believed that nature was the perfect example
of God's design.

Morris believed that all design should be based on
nature which he saw as the spiritual remedy to the
inferior standards of art and design during the
Industrial Revolution.

Morris encouraged artists and designers to look back
to medieval art for their inspiration as this was a time
when artists and craftsmen worked together with
equal status.

Morris founded the Kelmscott Press to create
beautiful handmade books which would elevate the
craft of printing to an art form.

inspired by John Ruskins socialist
ideals and attacks on
mechanisation and
standardisation
ART NOUVEAU
a style of art, architecture, and
decoration popular in the 1890s that
used stylized natural forms and
flowing lines
Art Nouveau - French for "The New Art." An
international art movement and style of decoration and
architecture of the late nineteenth and early twentieth
centuries, characterized particularly by the curvilinear
depiction of leaves and flowers, often in the form of
vines. Characteristics:
foliate forms, with sinuous lines,
and non-geometric, "whiplash" curves.

Gustav Klimt (Austrian, 1862-1918), Alphonse
Mucha (Czechoslovakian, 1860-1939), Henri de
Toulouse-Lautrec (French, 1861-1901), Aubrey
Beardsley (English, 1872-1898), Antonio Gaud
(Spanish, 1852-1926), and Hector Guimard (French,
1867-1942) were among the most prominent artists
associated with this style.


Art Nouveau
The roots of Art Nouveau go back to








is known in Germany as J ugenstil and in England as
Yellow Book Style.
In America, it inspired, among others, Louis Comfort Tiffany (1848-1933).
The name is derived from "La Maison de l'Art Nouveau," a gallery for interior
design that opened in Paris in 1896.
Symbolism
Romanticism
Arts &
Crafts
Movement
William
Morris
Louis Comfort Tiffany
Louis Comfort Tiffany (1848 1933) was
an American artist and designer who
worked in the decorative arts and is best
known for his work in stained glass.

He is the American artist most associated
with the Art Nouveau and Aesthetic
movements.

Tiffany designed

stained glass windows and lamps,
glass mosaics,
blown glass,
ceramics,
jewelry,
enamels and metalwork.
The Entrance Hall of the White House in 1882,
showing the newly installed Tiffany glass screens.
Reid Presbyterian Church
Richmond, Indiana
Southern window in Reid Presbyterian Church
It features Christ in the center flanked by the four
gospel writers and their symbols,
Mark (lion), Luke (ox), John (eagle), and Matthew (face
of a man).
Venetian Desk Lamp
Tiffany Glass
Magnolia and Irises, ca. 1908

four-columned
loggia
Gustav Klimt
Avant Garde
Austrian Artist

An Avant Garde Artist who influenced the
European art of the time. Gustav Klimt,
1862 -1918, . Painter /Illustrator
founder of the school of painting known as
the Vienna Sezession,

embodies
the high-keyed erotic,
psychological, and
aesthetic preoccupations of turn-of-the-
century Vienna's dazzling intellectual
world.



He has been called the preeminent
advocate of ART NOUVEAU.
Bildnis Fritza Riedler
1906
Klimt's work is often distinguished
by
elegant gold or coloured
decoration,
spirals and swirls,
and
phallic shapes used to conceal the
more erotic positions of the
drawings upon which many of his
paintings are based.
One of the most common themes
Klimt used was that of the
dominant woman, the femme
fatale.
The Kiss
1907-08
Gustav Klimt
Austrian Painter
Hope I
(1903) juxtaposes the promise of new life with the
destroying force of death.
Hope II
The Beethoven Frieze
1902
The primal forces of sexuality,
regeneration, love, and death form the
dominant themes of Klimt's work.

His paintings of femmes fatales, such as
J udith I (1901)personify the dark side of
sexual attraction.
Danae
1907

Danae, seemingly underwater, thighs drawn up.
Gold and silver seminal flow rising between her
legs. Very erotic.
The legend concerns her mating with Zeus in
the form of a gold shower, to conceive Perseus,
which is depicted here. The eroticism is highly
intentional: the red hair, etc. The small black
rectangle is Klimt's reduction of maleness to an
abstract symbol.

Danae and the shower of Gold by Titian
1554
Venetian
Renaissance
The Tree of Life
Gustav Klimt
The Tree of Life is an important symbol in nearly every culture. With its branches reaching into
the sky, and roots deep in the earth, it dwells in three worlds- a link between heaven, the earth,
and the underworld, uniting above and below. It is both a feminine symbol, bearing sustenance,
and a masculine, visibly phallic symbol- another union.
Death and Life
Henri de Toulouse Lautrec
French Artist
Henri de Toulouse Lautrec (French)
An impressionist with Roots in Art Nouveau
through his posters
Aubrey Beardsly
English Illustrator
Aubrey Beardsly
English Illustrator

For an artist intimately fascinated
with line, Aubrey Beardsley walked
many of them himself. He walked a
line between sickness and health,
suffering from tuberculosis as a child
and facing repeated bouts of ill-
health before succumbing to it at the
age of 25.

His images broke the rules of
perspective and proportion; and his
subject matter, often of a darkly
fantastic and overtly sexual nature,
broke the rules of propriety.

Cinderellas Slippers
Isolde
Withered Spring
Achieving Sangreal
The Fall of the House of Usher, 1894-1895 The Black Cape