FovismPUBLICAT DE ARTEXLA 8 - FEBRUARIE - 2009DEFINITIEFovismuleste o miscare artistica care se dezvolta in Europa inca din anul 1895 si pina in anul 1907, cu o maxima perioada de dezvoltare intre anii 1905-1907.Fovismul este cu adevarat prima revolutie artistica dinsecolul XX. Ea determina o mutatie radicala in domeniul limbajului plastic, presupune o schimbare fundamentala a intelegerii relatiei arta-realitate si eliberarea totala a temperamentului si instinctului artistic.DENUMIRETermenul de Fovism vine de la cuvantul francezfauve, adicafiara salbatica. Acesta este utilizat pentru prima data de catre criticul Vauxcelles Louis, cu ocazia expozitiei de la Salonul de Toamna din 1905 (care reprezinta si anul de aparitie a grupului Die Brucke) unde sunt reunite lucrari de Matisse, Vlamink, Braque, Dufy, etc., caracterizate printr-un colorit proaspat si violent.Cu acest prilej Vauxcelles exclama referitor la o statuie deDonatelloaflata in mijlocul salii si conceputa in cel mai pur stil renascentist florentin:Donatello parmis les fauves(Donatello printre animale salbatice).Insasi sala expozitiei a fost botezatala cage aux fauves(cusca animalelor salbatice). Aceasta ironie reprezinta lansarea miscarii foviste.PUNCTE DE PORNIRE Impresionism. Punctele de pornire se regasesc in descompunerile cromatice, folosirea culorilor pure si a raporturilor de complementaritate: dar parasesc impresionismul prin refuzul fata de caracterul sau esential senzorial, deplasarea interesului de la impresie la expresia culorii (existand paralelisme cu expresionistii, mai ales cu membrii grupului Die Brucke) si refuzul de pulverizare a formei sau excesiva divizare a tusei care destrama structura lumii vizibile. Neoimpresionism. Punctele de pornire se regasesc in divizarea stiintifica a tuselor, dar Matisse care este pana la un punct adeptul pointilismului, le reproseaza micsorarea tusei (punctului), practicand pastilele si pata de culoare pentru a mari capacitatea tusei de a modela forma. Opera lui Gauguin. Punctele de pornire se regasesc in exotismul, decorativismul si arabescul linear specific. Opera lui Van Gogh. Punctele de pornire se regasesc in expresivitatea culorii.CARACTERISTICI FUNDAMENTALE Se pastreaza legatura cu lumea realului, dar prin ceea ce simte artistul in fata realitatii si nu printr-o descriere, redare a ceea ce se vede. Aceasta pastrare a contactului cu realitatea atesta implicarea artistului in societate si functia sociala a artei. Culoarea are rolul principal in structurarea viziunii si constructia formei, de aceea i se atribuie rolul de a soca privitorul prin suprafete (pete) mari de culori pure (cu dominanta rosu), in raporturi violente, de complementaritate si in tonuri stralucitoare. Ele permit aducerea senzatiilor pe panza cu maximum de brutalitate si explozivitate (Derain: Culorile erau pentru noi cartuse de dinamita). Eliminarea clar-obscurului sia modelarii prin nuante si pasaje de culoare. Accentuarea pe efectul de decorativism si bidimensionalitate. Forma este delimitata in spatiu printr-o linie de contur. Ea este excesiv simplificata, redusa doar la suprafete si este lipsita de consistenta si volum. Uneori datorita vibrarii suprafetei tabloului prin pete mari de culoare violent asezate, se ajunge la dispersarea obiectelor si la eliminarea relatiei fond-forma (dispare impresia de spatialitate, de tridimensional).REPREZENTANTI FOVISM Matisse, Henri Derain, Andre Vlaminck, Maurice Dufy, Raoul Kees van Dongen Marquet, Albert Camoin, Charles Valtat, Louis Evenepoel, Henri Puy, Jean Manguin, Henri Friesz, Othon Rouault, Georges Bailly, Alice Braque, Georges

Henri Matisse

Henri Matisse

Henri Matisse

Henri Matisse

Andre Derain

Andre Derain

Andre Derain

Maurice de Vlaminck

Fauvismul[1](unfranuzismcare se citete [pron.fo-vism]) a fost un curent formalist npicturafrancezde la nceputulsecolului al XX-lea, care reprezenta lumea concret n culori violente, folosind tonuri pure i renunnd la perspectiv.nceputuri[modificare|modificare surs]n anul1905, la Salonul de Toamn dinParis, civa tineri pictori -Henri Matisse,Andr Derain,Maurice de Vlaminck,Jean Puy,Henri ManguiniAlbert Marquet- expun tablouri care ocheaz prin violena exploziei de culori. Criticul de artLouis Vauxcelles, surprins de contrastul dintre culorile pure ale acestor pnze i dou busturi n stil clasic expuse n aceeai sal, exclam: "S-ar putea spune:Donatelloprintre bestii slbatice" (n francez:fauves= animale slbatice). Expresia a prins i, n ochii publicului, acest nou gen de experiment reprezint naterea unui nou curent. Fauvismul nu este totui o micare organizat, nu are un program sau o definiie exact, se nate din ntlnirea unor pictori cu temperamente artistice foarte diferite, dar frmntai de aceleai probleme ale creaiei. Pe fauviti i caracterizeaz spontaneitatea de creaie, culorile nealterate de amestec, aplatizarea spaiului, nregistrarea direct a senzaiilor trite. Revoluionnd folosirea culorii i sensul perspectivei, modificnd relaiile dintre pictur i realitate, ei sunt cei care stau n pragul modernitii.Evoluie[modificare|modificare surs]Ieind n aer liber, prsindu-i atelierul n cutarea autenticului n natur,impresionitiiau impus folosirea culorilor pure, neamalgamate. Fauvitii vor dezvolta aceast premis, vor renuna ns repede la spaiul, lumina i naturalismul predecesorilor lor. Ei se afl totodat i sub influena luiVan GoghiGauguin, pe care i consider precursorii noii maniere de abordare a culorii n pictur. Fauvismul ajunge la maturitate sub influene dintre cele mai variate. Un rol important l-a jucat atelierul lui Gustave Moreau, frecventat i de romnulTheodor Pallady. Acest pictor simbolist, profesor lacole des Beaux-Arts, a tiut s-i impulsioneze colegii mai tineri s dezvolte tendine foarte diferite de propriile sale preocupri artistice. Mai alesMatisseiMarquetvor invoca adeseori cuvintele maestrului:Trebuie s gndeti n culoare i s ai imaginaie. Dac nu avei imaginaie, nu vei obine niciodat o culoare frumoas.Gustave MoreauFauvismul capt n scurt vreme dimensiuni internaionale. Realizrile artistice ale pictorilor francezi i exercit influena asupra altor pictori europeni, printre care se numr cei rui, caWassily KandinskysauAlexi von Jawlensky.Expresionitiigermani se inspir nemijlocit din creaia fauvitilor. Fiecare din pictorii care creeaz n spirit fauvist va exercita propria influen asupra picturii de mai trziu -cubismul,suprarealismul,pictura abstract. Chiar i dup cel de-al doilea rzboi mondial novatorii expresioniti abstraci se vor raporta la principiile stilistice ale predecesorilor lor. Mai alesMark Rothko, n pnzele lui de mari dimensiuni cu suprafee de culoare plate care se suprapun, va analiza rolul culorii n creaia fauvitilor, ca sugernd micarea i spaiul.FovismFovismule un curent in pictura, aparut laSalonul de Toamnadin1905, inFranta.

Promotoriimiscarii au fost poreclitifauves(fiare, salbatici) de catre criticul Louis Vauxcelles din cauza exacerbarii culorii care este folosita in toata puritatea si stralucirea ei, aproape de incandescent. Nu intamplator, unul dintre adepti, Vlaminck, afirmand ca vrea, cu cobalturile si vermilionurile sale sa dea focScolii de arte frumoase. Asadar, fovismul presupune inainte de toate untriumf deplin al culorii.

Principalii fovi au fostMatisse, Vlaminck, Derain, Friesz, Marquet, Dufy, Van Dongen s.a. Fireste, ca si in celelalte curente, protagonistii difera mult unii de altii si, in afara catorva trasaturi commune, ei isi afirma personalitatea in parametrii proprii care-i deosebesc pe unii de altii. Spre deosebire deVlaminck, de pilda, care este cel mai radical, pictand cu o verva brutal, cu violent, in tuse largi ce definesc aproximativ forma,Matissepicteaza atent la armonii, la arabescul linei, acordand culorii un rol decorativ.Sat pe malul unui rauMaurice de Valminck, 1915sursa

Desertul: armonie in rosu (Camera rosie)Henri Matisse, 1908Muzeul Hermitage, Sankt PetersburgsursaLa fel de mult se deosebeste voluptuosulDufycu propensiunea sa spre tonuri vii, eclatante, de mai potolitulMarquet, care nu intelege sa foloseasca tonuri aprinse decat ca accente pe o suprafata mentinuta intr-o gama de griuri mai mult sau mai putin colorate.Regatta at CowesRaoul Dufy, 1934Galeria Nationala de Arta, Washington D.C.sursaPort de Bougie, Algiers (The Port in Sunlight), 1925Albert Marquet (Bordeaux 1875 - Paris 1947)Robert Lehman Collection, 1975 (1975.1.191)sursa:metmuseum.orgBibliografie:Mica enciclopedie de arta universala, Vasile Florea si Gheorghe Szekely, Editura Litera International, 2005

The Primitivism of the FauvesJanuary 21, 2011byJeanne WilletteThe Question of Primitivism and the FauvesToday, primitivism is considered a derogatory term, connoting the Twentieth Century Western attitude towards the presumed inferiority of non-Western art. Primitivism refers to the abiding belief that non-Western cultures and peoples of color were, by definition, primitive and uncivilized and in need of the civilizing influences of European powers. Primitivism has become equated with imperialism and colonialism and the exploitation of the Other by the West. A more polite term has replaced primitivism: Tribal Art, indicating an indigenous art by non-Western people. However, it is important to note two little discussed facts: first, that the so-called native art came from colonized peoples and second, this art was often made expressly for the tourist trade and/or had been altered by Western influences. The tribal art so admired by Parisian artists was likely to be both African and inauthentic. By the beginning of the Twentieth Century, fully eighty-five percent of the world was dominated by a tiny group of European nations.Art critic, Robert Hughes, called the aesthetic pillaging of non-Western art by Western artists cultural imperialisman apt phrase, given that the artistic looting was paralleled by wholesale colonization of the globe. The artists were riveted by the freedom with which the African artists treated the human body. Instead of an anatomically idealized Classical ideal, the African body was not perceptual but conceptual or symbolic in form. The huge mask like faces, the generalized bodies and the stunted arms and legs suggested anything but beauty and beauty and art had long been co-dependent in Western art. The idea that the body could be stylistically and expressively deformed and that the face could be grotesque and morphologically transformed inspired artists in Paris to re-conceptualize the human form.The early writings on primitivism, such asPrimitivism and Modern Art(1938) by Robert Goldwater, equated non-Western art with the art making of undeveloped people, such as children. But Goldwater valiantly attempted to point out that this equation was made by the art world of pre-War Paris and that the art of Africans was sophisticated and beautifully crafted. Primitivism was, instead, a state of mind or a mindset on the part of certain artists, looking for new ideas. African art was discovered in Paris around 1904 by the Fauve artists, notably Andr Derain, and by Pablo Picasso. The sources and sightings included the Muse de lHomme and artifacts purchased by travelers. Henri Matisse purchased some examples of African tribal art, and the inspiration of these objects appears in hisGreen Stripewith his wifes mask-like face. The interest in tribal art caused these artists to shift their attention from the bright colors of Fauvism to the darker aspects of the primitive. Derain painted a series of clumsy nudes,Bathers,lumbering through a dark jungle and Matisse painted a subduedBlue Nudeby 1907. It is highly unlikely that any of these artists knew or cared about the original (and probably lost) meanings of the tribal works or about how the art might have functioned in tribal societies. Fauve primitivism consisted of seizing upon new ideas and absorbing the concepts and adapting the tribal for theavant-garde.As the book,Primitivism, cubism, abstraction: The Early Twentieth Century, put it,The appeal of African and Oceanic objects for the Fauves as rooted in those same interests and assumptions, which underpinned the appeal of Gauguins work for the group. They signified the exotic or the primitive redefined according to a Westernavant-gardeartistic code. Moreover, the absence of an accessible iconography or history to these objects allowed them to be easily absorbed into a modern artistic culture.In their own time, the Fauves inherited the Nineteenth Centurys fear of anarchism and political chaos and were called barbarians (or wild beasts), indicating a baleful anti-authoritarian attitude. The Fauves may have been seeking new artistic ideas but they had no intention of overthrowing any governments. To the establishment mind, any feints, no matter how remote, against the prevailing powers, was a threat and had to be countered with cries of childishness, youthfulness, and dangerous waywardness. The possible Dionysian attitudes of the Fauves and their rollicking colors seemed quite possible compared to the regal and serene murals of Pierre Puvis de Chavannes, painted in cool cerebral colors. But the Fauves were more interested in stripping modern art of tradition and in finding new ways to draw and new reasons to paint than in importing tribal art into their art world. What drew them to African art was the powerful urge to withdraw from an over industrialized landscape into something more simple, hence primitive, and primal: the lost atavistic golden age.The Primitivism of the Fauves could be found in their choice of subjectsthe nudes bathing in landscape with a new treatment of the human body. Compared to Emile Bernards painting of nudes in a landscape in 1097 in which the artist expressly contrasted the women to nature, the Fauve nude is part of landscape and is co-extensive with nature. The nude and the landscape are drawn and colored and painted without hierarchy, with equality. There is no humanistic center, only a reduction of the painting to a mood. There is no unified action and there is no exterior determinant or reason for the picture to exits other that the figures that fill the frame. The forms are psychologically unrelated to each other and the figures are rendered unimportant by the random cutting of the edges by Derain and Vlaminck. In the fantasy world of Matisse, nudity accepted as being a signifier of harmony between humans and bucolic nature in a pastoral landscape.The Fauve artists simplified their lines, often leaving them unfinished or forgotten about, as if a child had been distracted by another task. Also child-like (in the sense that Friedrich Schiller meant it) is the use of large areas of pure and undifferentiated color, floating unanchored by perspective. In addition to their appreciation of childrens art and thenaveart of Henri Rousseau, the Fauves were not concerned about the traditional subtleties of drawing and attempted to find simplicity (primitivism). The artists wanted to communicate directly with the spectator by replacing the world of objects with basic human emotions (considered primitive by authoritarian regimes). Some of the more immature artists, such as Vlaminck were dependent upon violent effects of color and upon the sensationalism of deliberate dissonance, but Fauvism sought merely a return and renewal of a more direct way of living and of self-expression. The primitivism of Fauvism was a means to an end, not the end itself.In fact, the Fauve turn towards the primitive was brief, a mere glitch on the way to the end of the movement. The same was true of Picasso who used primitivismIberian and African influencesto start but never finishLes Demoiselles dAvignon(1907) on the way to Cubism. The whole concept of primitivism and the influence of tribal art on Modern Art was revived after the two world wars and was reordered as a kind of formal affinity. The last gasp of affinity was the 1984 exhibition at the Museum of Modern Art,Primitivism in Twentieth Century Art: Affinity of the Tribal and the Modern,curated by William Rubin. Rubin came under a barrage of criticism by a younger generation of art critics, such as Thomas McEvilley, for equating modernism with the universal and for viewing tribal art as a kind of raw material for Western artists to elevate into transcendence. As McEvilley charged, the curators wanted to present modern art as a creative process, not as an art of appropriation (in the sense of colonialism). More tellingly, in Doctor, Lawyer, Indian Chief, McEvilley pointed out that Rubins so-called affinity was based upon a morphological resemblance without establishing any connection between selected examples of non-Western art and modern art.In the end, after a few short eventful years, the imfluence of Fauvism far outweighed its duration. Although the art of Matisse suggested that the logic of form or reality could be created thru color, this liberation of color did not immediately affect Twentieth Century art, due to the monochrome of Cubism. But for the more mainstream art world, lagging behind theavant-garde,there were educational consequences. The bright colors helped painters to leave Impressionism and to come to terms with Post-Impressionism. The late Czannist period of Fauvism combined a Western structure and geometricism with primitivism by 1907.After Ernst Ludwig Kirchner saw Fauve paintings in Berlin in 1908, Die Brcke in northern Germany took up this route of structured primitivism, or sharp edged figures. Although Matisses work in Berlin in 1908 was badly reviewed, Die Brcke artists began heightening their palettes and simplifying their forms. Both the Fauves and Die Brcke were impacted by tribal art, with the German artists finding or discovering the new forms in the ethnographic museum in Dresdent. Both groups were actively seeking a return to nature and saw primitivism as a means to accomplish a more simple way of life. In contrast, the Munich group, Der Blaue Reiter, led by Kandinsky and Jawlensky, saw Fauvism at Salon dautomne in 1905 and were inspired by the formal innovations. By 1908, Kandinsky at Murnau, near Munich, mixed the Fauve technique of high color and flat planes with Post-Impressionist exaggerated broken brushstrokes. Interestd in Bavarian folk art, Jawlensky used high pitched colors, harsh bright outlining, complementary shadows, all borrowed from the Fauves to create a kind of raw modern folk art in the frontal aspect of his painted mask like faces.Formally speaking, primitivism led the Fauves and those influenced by them to find an all-over construction through color. Reductiveness and simplicity, directness of means and a search for the basic elements of art, stripped of conventions-all were hallmarks of Fauvism. The desire to return and to renew suggested a reliance on instinct, indicated through intense color and free form that indicated a primal wildness. In Fauvism, imagination and feeling ruled, but being French, their formal dislocations were tempered and tamed by a devotion to the decorative. To the art intellectuals, this frankly decorative tendency, especially on the part of Matisse, was an excursion into the exotic, the primitive, the alien Other to the civilized European. The primitivism of Fauvism, like Fauvism itself, waned. Derain and Vlaminck became virulently conservative, especially after the Great War and Braque became a controlled Cubist and Matisse became a cultural lion, a giant of the Twentieth Century. Fauvism was tamed and the Fauves grew up.