"Fauve" colours XL Oil paints

"Fauve" technique

XL oil fauve colours palette

Some colours from XL oil included in this paint.

The colours and smells of Fauvism

The colours and smells of Fauvism 

Exclusive interview with Mr. Christian Lassalle, Art Historian

“Les Fauves” are a group of painters who, from 1903 to 1908, chose to paint with pure or raw colours, very little mixed with a nervous gesture by task. “Les Fauves” follow Impressionism and are opposed to it, and for the most part give up scientific divisionism and pointillism which were introduced by Georges Seurat. Many followers of the Impressionists, the Divisionists, as well as the Symbolists painted in blue or purple tones. It is against this evanescent style that “Les Fauves” react, they were the Impressionists before the term existed. Their painting passes off as aggressive for those just starting to get used to Impressionism, let alone those who still swore by conventional painting. It is for this reason that most critics will denigrate them by calling them "fauves". The critics compared these painters to wild beasts.

Who are these painters?

 They come from different backgrounds but have in common their admiration for the modern painting of Van Gogh and Gauguin. For this heterogeneous and transient group and who has never had a theory, three main origins stand out: the first and most important is the studio of Gustave Moreau between 1894 and 1898 with Matisse, Marquet, Camoin, Renoir and a little later Rouault, others have also passed by Eugene Carrière’s Academy. Gustave Moreau would recommend to seek «the imagination of colour .... » «The relentless pursuit of rendering visible the inner flashes of intuition by transposing them into pure plastic art». The critics referred to the students under Moreau's influence as "Moureaux" or "gustavemoristes" The second group is that of the referred to as "École de Chatou". Two painters, Derain and Vlaminck, meet at Chatou and share their discoveries of primitive art and admiration for Van Gogh and Gauguin. Derain later described that moment as a «Fire challenge» and a... charge of dynamite. He will later abandon this type of expression in favour of a more suave, cezanian painting style. Vlaminck, a fierce opponent of any group or theory, will consider himself as the master of les Fauves; he considers Van Gogh as his real father and often painted directly from the tube. The third group is called "painters from Le Havre" students at the Lhuillier good painter .. : Friesz, Dufy and Braque. Friesz will later say that the goal was then to render the equivalent of sunlight by a technique made of colourful orchestration, through a passionate transposition having as starting point the emotion over nature. Braque will eventually reject his Fauve period saying «you cannot remain permanently in crisis» and develop a cezanian painting style that will give birth to Cubism from his exchanges with Picasso. Eventually, the Dutch Van Dongen will also be included in this trend and artists such as Chabaud, Seyssaud and Valtat will be determined in the role of precursors. Although these artists refused to accept that label, let alone reducing the ironic qualification that later came of "cage aux Fauves", it is important to consider the relevance of this "good word" to comprehend its success. It is a good representation of the energy of these artists comparable to that of the animals from which they took the colours at a time when «les grands Fauves» (the big cats) were hunted in a colonial context. The colours and smells of Fauvism Exclusive interview with Mr. Christian Lassalle, Art Historian “Les Fauves” are a group of painters who, from 1903 to 1908, chose to paint with pure or raw colours, very little mixed with a nervous gesture by task. “Les Fauves” follow Impressionism and are opposed to it, and for the most part give up scientific divisionism and pointillism which were introduced by Georges Seurat. Many followers of the Impressionists, the Divisionists, as well as the Symbolists painted in blue or purple tones. It is against this evanescent style that “Les Fauves” react, they were the Impressionists before the term existed. Their painting passes off as aggressive for those just starting to get used to Impressionism, let alone those who still swore by conventional painting. It is for this reason that most critics will denigrate them by calling them "fauves". The critics compared these painters to wild beasts. Who are these painters? They come from different backgrounds but have in common their admiration for the modern painting of Van Gogh and Gauguin. For this heterogeneous and transient group and who has never had a theory, three main origins stand out: the first and most important is the studio of Gustave Moreau between 1894 and 1898 with Matisse, Marquet, Camoin, Renoir and a little later Rouault, others have also passed by Eugene Carrière’s Academy. Gustave Moreau would recommend to seek «the imagination of colour .... » «The relentless pursuit of rendering visible the inner flashes of intuition by transposing them into pure plastic art». The critics referred to the students under Moreau's influence as "Moureaux" or "gustavemoristes" The second group is that of the referred to as "École de Chatou". Two painters, Derain and Vlaminck, meet at Chatou and share their discoveries of primitive art and admiration for Van Gogh and Gauguin. Derain later described that moment as a «Fire challenge» and a... charge of dynamite. He will later abandon this type of expression in favour of a more suave, cezanian painting style. Vlaminck, a fierce opponent of any group or theory, will consider himself as the master of les Fauves; he considers Van Gogh as his real father and often painted directly from the tube. The third group is called "painters from Le Havre" students at the Lhuillier good painter .. : Friesz, Dufy and Braque. Friesz will later say that the goal was then to render the equivalent of sunlight by a technique made of colourful orchestration, through a passionate transposition having as starting point the emotion over nature. Braque will eventually reject his Fauve period saying «you cannot remain permanently in crisis» and develop a cezanian painting style that will give birth to Cubism from his exchanges with Picasso. Eventually, the Dutch Van Dongen will also be included in this trend and artists such as Chabaud, Seyssaud and Valtat will be determined in the role of precursors. Although these artists refused to accept that label, let alone reducing the ironic qualification that later came of "cage aux Fauves", it is important to consider the relevance of this "good word" to comprehend its success. It is a good representation of the energy of these artists comparable to that of the animals from which they took the colours at a time when «les grands Fauves» (the big cats) were hunted in a colonial context.