Fauvism

Fülszöveg

PRAEGER WORLD OF ART PAPER^CKS
FAUVISM
. - ' " . by Jqseph-Emile MutLER . ' • '
Althbugh its 4iîiatiL)n us a. m^yement was brief, Fauvism was one of the möst important artistic' developments. of the twentieth century. Gro^irig öütif the paiiiting of Cézanne, Van Gogh, and Gauguin, Jt contributed ,4n a spectacular fashion by restoring'to painting a purity and brillidnce of color Eutopean: art had not. possessed since the Middle Ages.i , ¦ • ' : : • - , ' ' ; This book analyzes the Qtigins. of Fauvism, illustrates the movement at its peak, and describes the personalities of the different artists identified with it—among theni Vlaminck, Derain," Matisse, Van Dongen—'showing what 'principles united them, aiid what idiosyncrasies separated, them. Biographies are also' given of. lesser known Fauvist painters, such as Ganlpin, Manguin, apd Friesz. Fauvism received itS'naj|ioë in 1505 when the trit4c'XvQuis Vauxcelles re^on^ded to a group exhibition % labeling the participants " wild... Tovább

Fülszöveg

PRAEGER WORLD OF ART PAPER^CKS
FAUVISM
. - ' " . by Jqseph-Emile MutLER . ' • '
Althbugh its 4iîiatiL)n us a. m^yement was brief, Fauvism was one of the möst important artistic' developments. of the twentieth century. Gro^irig öütif the paiiiting of Cézanne, Van Gogh, and Gauguin, Jt contributed ,4n a spectacular fashion by restoring'to painting a purity and brillidnce of color Eutopean: art had not. possessed since the Middle Ages.i , ¦ • ' : : • - , ' ' ; This book analyzes the Qtigins. of Fauvism, illustrates the movement at its peak, and describes the personalities of the different artists identified with it—among theni Vlaminck, Derain," Matisse, Van Dongen—'showing what 'principles united them, aiid what idiosyncrasies separated, them. Biographies are also' given of. lesser known Fauvist painters, such as Ganlpin, Manguin, apd Friesz. Fauvism received itS'naj|ioë in 1505 when the trit4c'XvQuis Vauxcelles re^on^ded to a group exhibition % labeling the participants " wild beaste " (fauves). Like die Impressionists, whpSé name'was also the^^ejorativfi appellation of !in .infuriated critic, the Fauves ;gladly accepted the label, painting works that stand as landmarks intwen-tieth-century-art. But Fauvism was never aS cohesive as Impres-Monism or certain othet. movements, and by ic)o8 it had ceased to exist, as its representative artists pürsued their own ways. / The author does not limit his study, however, to the brief periodjwhen it. flourished. He traces 4ts influence through the entire carirs of Matisse and Dufy. And, equally importa^nt for the history of twentieth-century painting,'he shows the impact of the exhilarating colors and simple plasticity of Fauvist works-on the early German ,'Esfiressionists who formed Die Brücke md Der Blaue Kelter schools. THE AUTHOR : Joseph-Emile Muller, a natiVe of the Grand Duchy of Luxembourg, has been director of ?the Art Education Service of the State Museum of Luxembourg since 1945 . There he has oifcanized l^merous exhibitions and conference^. He has published v^rks in I'reoch on: Fauvi§m,.,klee, SeuTat, and modern painting froni Manet t^ Mbadriän, and he has collaborated on dictionaries : of Modern ; ^ntk^ i^'sculpture. • ' f "
7 ~ catalog of
|REDERICK A. PRAEGER, Pübli^hefö
• ' tit Fourth Avenue, New York, N.Y. roo(|3 "
~ ' Printed in France j j Vissza