{"id":1672,"date":"2016-11-04T11:38:51","date_gmt":"2016-11-04T10:38:51","guid":{"rendered":"http:\/\/blog.esmadrid.com\/blog\/en\/?p=1672"},"modified":"2016-11-04T11:44:28","modified_gmt":"2016-11-04T10:44:28","slug":"the-fauves-at-recoletos","status":"publish","type":"post","link":"https:\/\/blog.esmadrid.com\/blog\/en\/2016\/11\/04\/the-fauves-at-recoletos\/","title":{"rendered":"The Fauves at Recoletos"},"content":{"rendered":"
\"Restaurant

Restaurant de la Machine \u00e0 Bougival<\/em>, ca. 1905. (Detail). \u00a9 Maurice de Vlaminck. VEGAP, 2016.<\/p><\/div>\n

The show presented at the MAPFRE Foundation\u2019s Recoletos Exhibition Hall<\/strong> <\/a>displays paintings, drawings and ceramics to illustrate the creative revolution brought in by Fauvism<\/strong><\/a>, the movement that between 1904 and 1908 opened up the way for the historic avant-garde and included artists like Matisse<\/strong>, Derain<\/strong> and Dufy<\/strong>.<\/p>\n

Whereas 19th-century art had fluctuated between the two opposing poles of realism and romanticism, art in the first half of the 20th century explored the path that led from the concept of construction \u2013 Rationalism \u2013 to the idea of chance \u2013 Irrationalism. Fauvism falls just between these two general models in addition to being the continuation of what had already been started by the Post-Impressionists, headed by Van Gogh, Gauguin and C\u00e9zanne. The Fauvist movement was where some of the major figures of other -isms were forged, including Georges Braque, the father of Cubism along with Picasso, and Kees van Dongen, member of the Die Br\u00fccke group of Expressionist artists. So, it could be said that this exhibition is the best way to understand art in the first ten years of the 20th century<\/strong>, a moment at which all the principles of European painting were thrown into disarray and at which the value of authenticity \u2013 or the picture as a window \u2013 is replaced by that of potency \u2013 the painting as producer of a world of its own.<\/p>\n

It all started in the studio of Symbolist painter Gustave Moreau, where Matisse, Rouault, Manguin, Camoin and Puy coincided as students. It was here they discovered the expressive possibilities of painting through colour<\/strong>, which, freed from depicting reality as it was perceived, presented reality as it was felt, in an unprecedented exercise of subjectivity. This meant that a face could be blue or green and the sky yellow or orange. The impact of their work was comparable to the jolt caused by Impressionism decades earlier. In an article for the 1905 Salon d’Automne, art critic Louis Vauxcelles referred to them for the first time as \u201cfauves\u201d,\u00a0<\/em>meaning \u201cwild beasts\u201d, for the boldness of their palette.<\/p>\n

\"Port

Port de Marseille, Notre-Dame-de-la-Garde<\/em>, 1904. (Close-up). \u00a9 Charles Camoin. VEGAP, 2016.<\/p><\/div>\n

Out of all of them my favourite is Vlaminck<\/strong>, who remained the most loyal to the distinctive features of Fauvism right up to the end of his career, with works in which colour took on an overwhelming strength \u2013 actually impossible to photograph. Influenced by Van Gogh, with whom he shared subject matter as well as vibrant brushwork, at one time he declared that Cubism and Picasso were “dragging French painting into a wretched dead end”. The exhibition includes especially outstanding pieces by Camoin<\/strong>, who is revealed as one of the most complete artists in the group, skilful in all the genres, as demonstrated by Port de Marseille, Notre-Dame-de-la-Garde<\/em>\u00a0and\u00a0La Saltimbanque au repos<\/em>.<\/p>\n

This exceptional show, curated by Mar\u00eda Teresa Oca\u00f1a, comprises works from the Tate and from the Centre Georges Pompidou, and also includes some paradigmatic Fauvist paintings, like the\u00a0portraits that Matisse and Derain<\/strong>\u00a0painted of each other and that appear in all History of Art manuals.<\/p>\n

\"Andr\u00e9

Andr\u00e9 Derain<\/em>, 1905. \u00a9 Succession H. Matisse. VEGAP, 2016. Henri Matisse<\/em>, 1905. \u00a9 Andr\u00e9 Derain. VEGAP, 2016.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

The show presented at the MAPFRE Foundation\u2019s Recoletos Exhibition Hall displays paintings, drawings and ceramics to illustrate the creative revolution brought in by Fauvism, the movement that between 1904 and 1908 opened up the way for the historic avant-garde and included artists like Matisse, Derain and Dufy.<\/p>\n","protected":false},"author":7,"featured_media":1678,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[25,9,65],"_links":{"self":[{"href":"https:\/\/blog.esmadrid.com\/blog\/en\/wp-json\/wp\/v2\/posts\/1672"}],"collection":[{"href":"https:\/\/blog.esmadrid.com\/blog\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.esmadrid.com\/blog\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.esmadrid.com\/blog\/en\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.esmadrid.com\/blog\/en\/wp-json\/wp\/v2\/comments?post=1672"}],"version-history":[{"count":5,"href":"https:\/\/blog.esmadrid.com\/blog\/en\/wp-json\/wp\/v2\/posts\/1672\/revisions"}],"predecessor-version":[{"id":1683,"href":"https:\/\/blog.esmadrid.com\/blog\/en\/wp-json\/wp\/v2\/posts\/1672\/revisions\/1683"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.esmadrid.com\/blog\/en\/wp-json\/wp\/v2\/media\/1678"}],"wp:attachment":[{"href":"https:\/\/blog.esmadrid.com\/blog\/en\/wp-json\/wp\/v2\/media?parent=1672"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.esmadrid.com\/blog\/en\/wp-json\/wp\/v2\/categories?post=1672"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.esmadrid.com\/blog\/en\/wp-json\/wp\/v2\/tags?post=1672"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}