CHAPTER 32: THE NEW WORLD OF PAINTING 2. COLOR: Fauvism
Jacques rouveyrol
I. Fauvism and Impressionism
1. The two "routine" exercise the same palette of pure colors.
2. But where the Impressionists are light, tawny the express . In this work of Derain, color saturation, on the one hand and the general use of the reservations expressed the Mediterranean light.
Jacques rouveyrol
I. Fauvism and Impressionism
1. The two "routine" exercise the same palette of pure colors.
2. But where the Impressionists are light, tawny the express . In this work of Derain, color saturation, on the one hand and the general use of the reservations expressed the Mediterranean light.
3. We saw Cezanne transpose nature painting: "Art is a harmony parallel to nature," he says.
Fauvism is given the same objective: "Build relationships with equivalent color reports you see on the model" Matisse wrote.
4. We return to the studio (though it should not believe all the impressionist paintings were painted in the moment of the outdoors and that the shift in the workshop after work on the ground was not common) with the consequences: that one works in the absence of the model, that the time between the printing of the expression.
These differences are appointed at the time: abstraction which here means detachment from reality.
5. Impressionism painting directly sense the light is colored, the design fails. Fauvism, a colorant that is, returns. The tawny pattern exists.
But, it is characterized by simplification of the masses. Detail undermines the emotional intensity. (Below the Jardin du Luxembourg Matisse)
It also operates a caricatured accent shapes. Witness this Reclining Nude Van Dongen (who himself comes from a drawing illustration Cocotte "Little story for young and old nenfants " for L'Assiette au Beurre 26 October 1901)
Up with Mondrian, to renounce the form that will lead to the abstraction itself.
II. COLOR
Critics accused the tawny color of being "raw." Hear (in the sense that Levi-Strauss contrasts the raw to cooked as the natural cultural) to be "non-cooked .
Critics accused the tawny color of being "shrill." Hear: " nonharmonic . That is to say, once again, natural, uncivilized. Critics accuse
still fawn colors to be "cruel." Understand: barbarians, " uncivilized."
total of Fauvism would, in its form, u rejection codes, conventions related to the history of painting, models: a return to nature.
II. COLOR
Critics accused the tawny color of being "raw." Hear (in the sense that Levi-Strauss contrasts the raw to cooked as the natural cultural) to be "non-cooked .
Critics accused the tawny color of being "shrill." Hear: " nonharmonic . That is to say, once again, natural, uncivilized. Critics accuse
still fawn colors to be "cruel." Understand: barbarians, " uncivilized."
total of Fauvism would, in its form, u rejection codes, conventions related to the history of painting, models: a return to nature.
is also true for its content. Exceptions ( Luncheon on the Grass Manet, for example), the impressionist nude is to be seen indoors. Except the beast is shown naked in the wilderness, outdoors.
And naked body is therefore primitive a. A colored body
b . Sexualized body (Kupka Plans by color / Large Nude 1909-1910 Guggenheim Hermitage Museum, Las Vegas)
7. Paradoxically, it's "progress" of the industry that seem to come the colors: it became a city full color. Posters, displays, development of the "electricity fairy" put color everywhere in the city. The painter's gaze is sensitive to the atmosphere and transfers it both in its "nature."
8. Furthermore, the development of photography has to compete with "traditional" way painting. But it is in black and white. In the painting, so the color. And, like photography, too, will retail paint will focus on the masses.
However, we can not confine itself to such explanations. The return to nature (a "aggressiveness" primitive), face (colored) of the modern city, the need to take into account the competition of photography probably explain the characteristics of Fauvism, but these are factors external ( accidental).
III. MEANS OF CONSISTENCY
recall the problem to the paint because of the revolution impressionistic. We have seen (with Cezanne and we will with cubism) the question of the formation of a coherent space of painting. What we understand at the moment is how to find a harmony, agreement-specific painting. Just as things agree in external reality, because of their submission to the laws of nature, and things must agree in the new reality of the painting). Here is the problem of wild animals.
1. The figure-ground exchange.
The real object is restored, but at the same time exceeded. The object is transformed by his transcript: he keeps his or her appearance or color or outlines. But in agreement between with the environment in which it "appears". In Japan this of Matisse's drawings meet the dress waves of the river along which it lies. Between background and figure Matisse found agreement forms.
For Nude in Forest Matisse the same, it will be between the bottom and include a color agreement second solution.
2. The chromatic agreement in principle.
And naked body is therefore primitive a. A colored body
b . Sexualized body (Kupka Plans by color / Large Nude 1909-1910 Guggenheim Hermitage Museum, Las Vegas) 7. Paradoxically, it's "progress" of the industry that seem to come the colors: it became a city full color. Posters, displays, development of the "electricity fairy" put color everywhere in the city. The painter's gaze is sensitive to the atmosphere and transfers it both in its "nature."
8. Furthermore, the development of photography has to compete with "traditional" way painting. But it is in black and white. In the painting, so the color. And, like photography, too, will retail paint will focus on the masses.
However, we can not confine itself to such explanations. The return to nature (a "aggressiveness" primitive), face (colored) of the modern city, the need to take into account the competition of photography probably explain the characteristics of Fauvism, but these are factors external ( accidental).
III. MEANS OF CONSISTENCY
recall the problem to the paint because of the revolution impressionistic. We have seen (with Cezanne and we will with cubism) the question of the formation of a coherent space of painting. What we understand at the moment is how to find a harmony, agreement-specific painting. Just as things agree in external reality, because of their submission to the laws of nature, and things must agree in the new reality of the painting). Here is the problem of wild animals.
1. The figure-ground exchange.
The real object is restored, but at the same time exceeded. The object is transformed by his transcript: he keeps his or her appearance or color or outlines. But in agreement between with the environment in which it "appears". In Japan this of Matisse's drawings meet the dress waves of the river along which it lies. Between background and figure Matisse found agreement forms.
For Nude in Forest Matisse the same, it will be between the bottom and include a color agreement second solution. 2. The chromatic agreement in principle.
In reality there of disagreements formal or chromatic. The world of painting is more true (more world, more coherent, more depth) than the real world. The red range of Matisse is more "real" (more range) than the yellow range (you can imagine).
There are, in fact, commonly, two definitions of truth.
1. The agreement of representation with the object of the proposal with the event. ("The Earth revolves around the sun" is a true statement because it reflects the objective reality)
2. The agreement elements representations between them, the terms of the proposal among themselves. ("A cheap ass is a donkey rare, rare gold donkey is an ass expensive, so a cheap ass is an ass expensive." This syllogism is formally perfect, even if objectively it is meaningless and is a paradox) .
1.La first definition is suitable realism: the painting represents the reality as it is.
2.La second definition is suitable Fauvism: The table performs an internal consistency of color and forms that replaces reality without representation. So this Route rotating Derain.
CONCLUSION Fauvism therefore extends, in its way, different from that of Cezanne, the Impressionist revolution. It emanated (in principle) the painting of any submission to the real world. He belonged to the artist is to build a world entirely separate (Gauguin, Seurat) construct a parallel world to reality. What Cézanne working on space and achieving a unity of substance and Figure qui existerait déjà dans la réalité, mais à l’état implicite, le travail du peintre étant de la révéler, de la mettre en évidence. Ce que font les fauves en travaillant sur le dessin et la couleur et en parvenant à une harmonie du fond et de la figure qui n’existent pas forcément de façon naturelle.
Le cubisme et l’art abstrait traitement des mêmes problèmes pour y apporter des solutions nouvelles.
APPENDICE
On peut noter chez les fauves (ou chez ceux qui le furent un moment de leur carrière) une évolution, sur la fin, qu’on pourrait dire au moins pré-cubiste. Vlaminck, par exemple avec City's Lakefront 1909 Hermitage Museum, Saint Petersburg.
Or Derain with Houses at waterfront 1910 Hermitage Museum, St. Petersburg
Or his Landscape with boats 1915 Hermitage Museum, Saint Petersburg.
MAIN ARTISTS Fauvism
1. Henri Matisse 1869 - 1954: Fauve period (1905 - 1907)
2. Derain Andre 1880 - 1954: Fauve period (1905 - 1907)
3. VAN Kees Dongen 1877 - 1968
4. Maurice Vlaminck 1868 - 1958
5. Albert Marquet 1875 - 1947
CHAPTER 32 (continued): The Jacques EXPRESSIONNISME
rouveyrol
I. Fauvism and Expressionism
expressionist painters developed a paint that has tawny color but content and intent are very different. Although there are similarities.
-> Analogy, for example on the side of a "primitive" or back to nature.
-> Analogy as the side of the "negation "Real world. Nor for the deer, the real world is to be an expressionist representation in painting.
But this "renunciation of the world" has another meaning. It is exploring the "inner world" of emotions.
Expressionism, is not a style, it is a state of mind.
-> There is indeed a variety of means of expression. For
Di Brücke, they will be asked in vibrant colors pure solids. Below: Haeckel Girl with a Doll 1910 Serge Sabarsky collection)
rouveyrol
I. Fauvism and Expressionism
expressionist painters developed a paint that has tawny color but content and intent are very different. Although there are similarities.
-> Analogy, for example on the side of a "primitive" or back to nature.
-> Analogy as the side of the "negation "Real world. Nor for the deer, the real world is to be an expressionist representation in painting.
But this "renunciation of the world" has another meaning. It is exploring the "inner world" of emotions.
Expressionism, is not a style, it is a state of mind.
-> There is indeed a variety of means of expression. For
Di Brücke, they will be asked in vibrant colors pure solids. Below: Haeckel Girl with a Doll 1910 Serge Sabarsky collection)
is retained by a commitment to the "object", although it is deformed.
-> For Blaue Reiter, the color remains the primary means of expression, but attachment to the object disappears.
II. BRÜCKE DI (1905 - 1913)
Di Brücke (Bridge) was founded in Dresden in summer 1905 by young artists decided to critique a capitalist society eminently bourgeois, materialistic and selfish. They find the primitive life and Ethnography Museum woodcut which gives the composition a maximum expressiveness (Heckel Reclining Woman 1913)
Di Brücke (Bridge) was founded in Dresden in summer 1905 by young artists decided to critique a capitalist society eminently bourgeois, materialistic and selfish. They find the primitive life and Ethnography Museum woodcut which gives the composition a maximum expressiveness (Heckel Reclining Woman 1913)
This same expression that there are so perfectly manifested in the expressionist cinema (black and white in nature and not just because the color is not yet available) by Fritz Lang, Murnau, Wine (below The Cabinet of Dr. Caligari 1919)
The color does in fact only enhance the expressiveness .
Artists of Brücke Di: Kirchner 1880 - 1938
Haeckel 1883 - 1966
Rottluff 1884 - 1976
Nolde 1867 - 1956
Pechstein 1881 - 1955 Mueller
1874 - 1930
III. DI BLAUE REITER (1908 - 1913)
Di Blaue Reiter (The Blue Rider) was formed in 1911 in Munich. This is a group that undertakes a journey to abstraction. (Below, Marc Tiger 1912).
Kandisnky is one that will "plunge" and will bring the painting into abstraction itself, is part this group.
The artists of the Blaue Reiter: Kandinsky
1866 - 1944 Von Jawlensky
1864 - 1941
Münter 1877 - 1962
Klee 1879 - 1940 Marc
1880 - 1916
Macke 1887 - 1914
IV. THE BERLIN 1911 - 1913
Berlin will occupy a central place in the avant-garde expressionist, even if it is, as we saw in Dresden and Munich that this trend is born.
Beckmann refuses abstraction. But it is not in favor of representation. This is the benefit of the expression. (Below: Beckmann Night Kunstsammlung Nordrhein-Westfalen, Dusseldorf)
Kokoschka search expression through color alone. At the sight, it overrides the hallucinatory vision ). Below: Kokoschka Mächenbildnis 1913. 
3. Egon Schiele, the expression through the disruption of the body ... (Here Schiele self-portrait standing 1910 Graphische Sammlung Albertina, Vienna) 
... or desolate landscapes, despoiled, as about to die .
-> We have seen that there is an internal factor in art history, painting, if it separates itself from the world that it no longer seeks to represent it She must also find a "subject" to the canvas. If it is outside, it will be inside. A world of emotions just waiting to be expressed.
-> There is also an external factor we already been involved with Fauvism and the question of color: posters, lights ... the city.
Berlin at that time a growing city. Entire neighborhoods are high in haste, invaded the city all around her: buildings, factories, destructive monster of nature. The city is undoubtedly the topic of Expressionism. Not the city Impressionist a Caillebotte, bright and cheerful setting for a carefree life. A city expressionist machine, create anxiety.
Below Meidner The City in Flames 19 13 
Artificial light, frenetic movement and in the middle of this lost man, alone in a sea of indifference.
The Berlin artists of the period 1911 - 1913
Beckmann 1884 - 1950
Kokoschka 1886 - 1980
Schiele 1890 - 1918
Barlach 1870 - 1938
Feininger 1871 - 1956
Meidner 1884 - 1966
Rohlfs 1849 - 1938
Morgner 1891 - 1917
V. THE WAR OF 14-18 AND AFTER ... First
expected by Germany as a repetition of the success of the war of 70 it appears artists as a great event conducive to purify a world experienced as reached the extreme corruption and clean to bring about a better man.
But it quickly becomes the means of destruction implemented much more lead to a way of Apocalypse.
(Below: Felixmüller Soldier in the madhouse 1918)
Thus, Expressionism did have in common with Fauvism that the use of pure color and denial of objective representation of the world.
The color he uses to express the emotions of violence and anxiety that inhabit a man immersed in a hostile environment:
- The sprawling city as a place of indifference,
- The world mechanics of an industry that does not serve the citizen but who On the contrary, destroyed by absorbing his strength
- The world of war and its terrible destruction.
VI. A "degenerate art"
In July 1937, in Munich, the Nazis organized an exhibition of "degenerate art" and characterized:
1. An art that destroys the forms and colors.
2. Who makes a mockery of religious ideas.
3. Which leads to anarchism.
4. Engaged in a Marxist propaganda.
5. Making the racial sabotage by importing negro art.
6. Which consists of "Jewish filth"
7. Who runs the general madness.
Below the Führer hilarious when visiting the exhibition.
is, as we have seen ( course of the political use of neoclassicism 2008) is understood as neo-classicism to the hero worship that turns the painting that both Nazism 'sculpture and architecture.
La représentation de l’homme donnée par les expressionnistes (qui comptent en outre nombre de juifs) en montre les faiblesses : l’angoisse, la peur. L’homme nouveau imaginé par l’idéologie du III° Reich est aux antipodes. L’homme des expressionnistes est un sous-homme, celui de l’Allemagne Nouvelle est un surhomme.
VII. REMARQUE : CONTINUÏTE
Quelque « moderne » que soit la production expressionniste, elle n’est pas pour autant libérée de l’histoire de la peinture.
Quelques exemples :
La Crucifixion de Grünewald, au Retable Isenheim (1512-1516) influenced artists as diverse as:
Nolde Polyptych Life of Christ 1912
Max Ernst Crucifixion c. 1913
Kokoschka Crucifixion 1912
the same altarpiece, in its various panels, still inspires very accurately Nolde Grande City (Metropolis) Triptych 1927-28 Stuttgart, Galerie der Stadt.
Consider the left side of the two works, at Annunciation Grünewald, Street Scene at Nolde. The colors correspond Rather, the forms (arcs) are found and Nolde seems like a mirror (reversed signs) Grünewald: the angel's wing, light, has become the heavy bag the man to stand erect and spear of resurrection in the hand of the angel becomes the supports directed toward the floor of the same man.
Another panel of the altarpiece Temptations of St. Anthony . Her left side is clearly (in construction, body position) of model Job Nolde.
Finally, it is unquestionably the Pieta that we see at the bottom right part of the altarpiece depicting the Crucifixion (above) that comes before the Pieta Ruins of 1946 Nolde.
Expressionism is not the heir of Fauvism. But not that of classicism. Nolde inspired by Grünewald, but this is not the suffering of God who is interested. Is that of man. In
Fauvism, Expressionism borrow the violence of colors. But the goal is to build a world that is not parallel to the outside world (which is the direction of the company big cats) but the transcript of an inner world that reacts emotionally to the metamorphoses of the outside world.
Impressionism turned the painting of the representation (the world).
Cézanne tried to paint the terms of this representation (how the world will become visible) and understand how a world made to build up. The animals
have tried using color to build an autonomous world: the world of painting.
The Cubist will in turn take over this company, but through the creation of a new space.
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