Fauve Craft, or fauvism, was a short-lived Craft movement that flourished in the early caducity of the 20th century.Emotional Response
As described above, contrary to impressionism, realism was not in the agenda of fauvist artists. Instead, as the Art Story Foundation suggests, fauvists used unnatural color combinations in their works to elicit a variety of emotional responses. Therefore, the use of color did not abide by any laws, but it was more a way for fauvists to depict their own emotions on the canvas.
Fauvists used pure and unblended colours in a course of action that has blank to engage in with how the human eye views an target, adult or a scene. As Sabine Rewald from the Metropolitan Museum of Craft puts it, fauvists' colours came "directly from the tube." The already "desolate" colours were besides intensified with the advantage of thick daubs and smears.
Bold Strokes
Another deviation from the predominant movement of the dilatory 19th century, impressionism, was the absence of humble and thin brush strokes. Instead, fauve Craft paintings are dominated by bold, undisguised brushstrokes. Thereupon, if one pays attention to a fauvist painting, he can clearly see the strokes painters used to apply color to the painting. As a result, transition between adjacent colors is quite abrupt, as it is evident on Andre Derain's portrait of Henri Matisse from 1905.
Disregard of Three-Dimensionality
Disregard of three-dimensionality does not refer to ignore of perspective, as fauvist painters made use of the technique to depict depth in objects and landscapes. Instead, the issues that weakened the perception of depth on fauvist paintings were the seemingly autonomous bold strokes and the lack of subtle shading. This characteristic derives from the fact that fauvists' priority was not the accurate representation of a surface's appearance.
Its term derives from the French title "les fauves," which resources the fierce beasts. The title was coined during the 1905 "Salon d'automne" exhibition in Paris, when critics described the works of Henri Matisse and other fauvists as "primitive, brutal and crazy." In spite of the movement's short activity, fauvism is an primary precursor to Expressionism, according to the Craft Article Foundation.
Intense Colors
The inaugural essential a viewer Testament observance on fauvist works is the biting colours used throughout the representation, which is what scared the audience back in 1905.In this respect, Tate suggests that fauve art can also be seen as a form of expressionism.
