Henri matisse (1869— 1954) is the most important figure in the animist movement. He and Picasso are considered as the two most important artists in French painting in the 20th century. Matisse was born in Lecado, a small town in Piccadilly. His father was a businessman and had expected his son to be a lawyer in the future, so Matisse entered a law school in Paris after finishing high school. Later, I returned to my hometown and worked as a clerk in a law firm. If 1890 had not been hospitalized with appendicitis, he might never have thought of becoming a painter. His mother brought him paints, brushes and a manual for self-study painting in order to let him spend the time in the hospital bed during the recovery period after operation. Unexpectedly, these things made Matisse obsessed with painting. After leaving the hospital, he began to take evening classes in the sketch class of Quentin de latour School. Later, he finally got his father's permission to study painting in Paris. He first entered Julian College and studied under the classical painter bouguereau. /kloc-entered the Paris Academy of Fine Arts in 0/892. After his last visit, he was taken a fancy to by the famous symbolist painter Moro and incorporated into his studio. Morrow was the first modern art educator. Matisse will never forget his teacher's teaching. Years later, at the mention of Moreau's name, his eyes will be moist. 1898 exhibited his works in the salon of the China Association for the first time, which was a success. His early paintings were influenced by pissarro, Sinek, Cezanne, Gauguin and others. After trying several styles, he finally established his own painting style around 1905. He depicts objects through subjective colors rather than light and shadow. He said: "I use color to express my feelings, not to copy nature." I use the purest color. "He likes graphic painting. He regards painting as a plane decoration, but deliberately weakens the sense of depth of the picture and the sense of volume of the object. At the same time, according to the emotional needs, he combined high-purity plane color blocks in his paintings, so that they formed a relationship of conflict and contrast or balance and harmony, and produced a musical rhythm. His paintings are extremely concise, with curved lines, relaxed and smooth brushwork, exuding childlike innocence and vitality. His paintings often convey some cheerful feelings and give people visual enjoyment.
Among the fauvism painters, the wildest one is Flamengo (1876- 1958). He was born in Paris and spent his childhood in a poor environment outside Paris. His parents are musicians, and they have the personality of gypsy artists. They don't take their son's education seriously at all, but let it go. This makes flamenco develop a straightforward and optimistic civilian taste from an early age. He likes hiking or cycling, playing in the country, attending sports parties ... everything in the world makes him happy. His father is of northern descent, and most of his ancestors were Dutch sailors or farmers in Flanders. He inherited the strong physique of his ancestors, as well as his love and kindness to nature. He has a wide range of interests, not only likes music and painting, but also writes novels and does farm work. /kloc-went to Chater at the age of 0/6, and made a living by riding a bicycle and playing the violin seasonally. He served in the French army from 1898 to 1900. On his way back to Paris on the eve of his service, he met the local painter Dylan in Chater. The two shared the same interests and decided to cooperate, so they shared an old pub as a studio on Chater Island. It was here that they established the Saudi School as one of the fountains of Fauvism. Dylan once wrote when recalling this interaction between them: "I am immersed in color all day, and all I talk about is the words about color and the sun that makes color come alive." At this time, Van Gogh's paintings had an important influence on the Flemish people. 190 1 In the spring of, when he watched the retrospective exhibition of Van Gogh's works in Jonah Gallery, he shouted excitedly: "I love Van Gogh more than my father!"
He pursues freedom in painting. He despised tradition and boasted that he had never been to the Louvre. He said, "A visit to a museum will make your character worse, just as a cordial conversation with a priest will make you lose your sincerity." Any restrictions, rules and dogmas will make him angry. He hates everything that restricts freedom. He said that he tried to "paint with heart, without worrying about style." Because instinct is the foundation of art. "
Like Van Gogh, he prefers strong colors. He said, "I raise the brightness of all the tones and turn everything I feel into a solid orchestra." He always piles bright colors directly from the paint tube on the canvas. He prefers full orange, often echoing it with bright red, and strengthening his visual impact with contrasting colors (blue and green). He prefers thick brushwork and likes to outline the structure of objects with rotating brushstrokes and thick black lines.
The quarry by the Seine River is a typical Fauvism work in Flemish style. In the painting, the sharp contrast between big red and green and blue creates a warm and turbulent atmosphere. Those wild branches, like flames, are flying in the air, which is particularly eye-catching Warm colors and dancing strokes make the picture feel wild and turbulent. Facing this painting, it seems that there is noisy music in the ear, which makes people unable to appreciate the harmony and quiet pleasure of nature. Almost everything in the painting makes people feel the manic and violent character of the painter. Flamengo once said, "Painting is like an ulcer. It sucked the evil out of my heart. If I don't have any talent for painting, I will be a very bad person ... In a society where I am likely to throw bombs-that will get me sentenced to death-I try to sublimate this impulse into artistic expression and express it with painting. I squeeze paint directly from the paint can onto the canvas. In this way, I can use my destructive instinct to create a perceptual, living and free world. " (Maitreya Buddha, translated by the fauvism Li Changjun, Taiwan Province Mainland Bookstore Publishing House, page 70 and 7 1) This is similar to German expressionist painters.
Andre Delan (1880-1954) is an important member of the Fauvism painter. He was born in a wealthy family in Chater. He is smart and studious, and has received a strict education. After graduating from the famous Chaptal Middle School, he was sent by his family to the Central Advanced Technology School to study engineering. Then he suddenly decided to learn to draw. He and Flamengo became friends. They shared a studio in Chater and founded the famous Chater School. He also went to Corriol to paint with Matisse, and it was there that he formed the so-called "Fauvism" painting style that caused a sensation and criticism in the autumn salon.
Dylan is different from the Flemish in painting. He doesn't despise tradition, but he always has a soft spot for the art of museums. "Although he had a passion for the explosive colors of Fauvism, he often hung a more regular and classical traditional painting concept in his mind." (History of Modern Western Art, by Arnason, Tianjin People's Fine Arts Publishing House, p. 98). Because of this, he later broke away from animism and finally went to the traditional road.
In animism, he was keen on strong color expression. He once said: "Color has become a bomb. They are bound to shine. In freshness, anything can transcend truth. " (The Concept of Modern Art, edited by Nicholas Stangos, Sichuan Fine Arts Publishing House, 1988, p. 22), he regards color as the soul of painting and tries to "jump out of the trap of reproduction" through color. But his painting style is not as extensive as Flamengo's, but more relaxed and refined. When Flanders prefer warm colors and are keen on the contrast between vermilion or chrome yellow and cobalt blue or ultramarine, Dylan likes the subtle and elegant color relationship of cool colors. In his paintings, some purple and dark pink are often dotted in the cool colors of green and blue, which is very harmonious. Twisted lines and short and intermittent strokes are light and smooth, revealing exquisite elegance.
Dylan's paintings of the Thames in London in 1906 are his best works of fauvism. The trip to London inspired him a lot. London's charming scenery made him relaxed and happy, and those "outdoor shapes full of sunlight" aroused his strong desire to express his feelings with colors. However, the scene bathed in bright sunshine in his paintings is not hazy in impressionist paintings. They are sharp-cut and full of brilliance, and the bright and strong colors are not so much the reproduction of natural scenery as the expression of subjective feelings. Westminster Bridge is his masterpiece of this group of paintings. In this painting, Dylan chose a high-angle composition, spreading a large area of green, yellow, red and blue as the main colors. The strong contrast between these color blocks makes the picture full of rhythm and tension. The winding solid color branches on the surface of large complementary color blocks play a role in harmonizing the contrast colors. The whole painting is rich in color, bright in tone, simple in shape, and full of vitality and strength in brushwork, which embodies Dylan's extraordinary skills in dealing with the color and structure of the picture.
Raoul dufy (1877— 1953) was a painter who was influenced by Matisse and turned into a fauvism. His painting style is fresh and bright, and he is used to using a sketch style, with fine lines and strokes, and bright and faint colors to express a lively and cheerful image.
Duffy was born in le havre, one of the most charming French cities. My father is an accountant in a small metal company. Du Fei/Kloc-graduated from middle school at the age of 0/4 and worked as a clerk in a company in his hometown. He likes painting very much. From 1892, regardless of his father's objection, he went to the city art school for evening self-study after work at eight o'clock every night. 1900 won the annual scholarship 1200 francs and came to Paris Academy of Fine Arts to study painting. 190 1 year, he chose the French artist salon with a work called "Twilight in le havre". At first, he was fascinated by impressionist and post-impressionist painting styles, and followed the styles of Monet, pissarro, Van Gogh and Cezanne. Later, he turned to pursue the beast with strong color. After 1909, he formed his own unique painting style, often painting bright and fast colors thinly on a white background, and then sketching the outline of objects with simple lines. His paintings are elegant, delicate and relaxed. There are few ugly things in his paintings. Although his expression tends to be realistic and concrete, it is full of oriental sentiment and decorative meaning.
1905, Du Fei saw Matisse's oil painting "Luxury, Quiet and Happiness" and was deeply shocked by it. He said: "Before this painting, I understood all the principles of painting. Seeing the magical imagination reflected by sketches and colors, impressionist realism lost its charm for me. " As a result, he no longer worshipped Impressionism, but was keen on painting experiments in the style of Fauvism. He painted those lively streets and dance scenes with bright colors and decorative styles, and became an important member of the Fauvism painters.
In 1906, Du Fei painted several pictures to show the National Day celebration in his hometown. These works are not so much out of patriotism as out of the pursuit of artistic expression. Le havre is the representative of the streets covered with flags. Here, he regards the color block of the national flag as an important part of the picture. The French flag composed of red, white and blue stripes not only enhances the brilliance and festive atmosphere of the street scene, but also produces abstract geometric patterns on the screen. In this painting, flags that seem to be exaggerated several times occupy a large area; The characters below look short, in sharp contrast to the national flag. Duffy is not interested in the illusion of old realism. He obviously doesn't feel the need to show how flags are hung on houses on both sides. These flags look transparent, and we can clearly see two figures on the flag in the lower left corner. Surprisingly, although this painting uses a large color block of Fauvism, the color effect is not festive, and so is the tone of the whole painting. The white of the picture is not really so white, but weakened by light gray, which gives the whole picture a certain sense of solemnity. This format is actually a geometric composition experiment conducted by the artist on the surface.
Among the fauvism paintings, Luo's paintings are unique with their profound and mysterious atmosphere and rough and heavy painting style. Georges rouault (1871-1958) was born in a carpenter's family in Paris. At the age of fourteen, he was an apprentice in a glass painting workshop, learning the skills of mending medieval window paintings, and at the same time attending evening classes at the Paris School of Decorative Arts. 189 1 was admitted to the academy of fine arts in and soon became a favorite pupil of the symbolist painter Moro. After Moreau's death, he was the curator of a small museum that displayed Moreau's works. In painting, he preferred the academic style at first, and then experienced a crisis from body to spirit. He chose a rough and powerful painting style. 1903 participated in the establishment of the autumn salon and became the target of attack by academicians who appreciated him at the beginning. In the deep thinking of religious and social issues, Lu established his own artistic personality. His preference for Van Gogh, Gauguin and Cezanne made him a fellow traveler of 1905 Fauvism.
Kangaroo's paintings are full of passion, love and pity, and full of religious flavor. He is keen on depicting the dark side of society and expressing his curse on ugliness and depravity through characters. In this respect, his paintings are comparable to those of Goya and Du Miai. He often goes in and out of the Paris district court to observe those who have lost God's favor. In his paintings, ugly prostitutes, arrested gangsters and ruthless judges have become common images. His painting style is simple, powerful and extensive. In his paintings, bright colors are always framed by thick lines, which reminds people of medieval glass window paintings. He often uses dark thick lines to quickly outline the image, and a few strokes can achieve both form and spirit. Thick outlines, thick color levels and strong colors make his paintings full of strong sense of force and rhythm. In fact, his works have nothing in common with Fauvism except passionate feelings and rough skills. In the eyes of many people, he is more like an expressionist like the German "Bridge School" painter than a fellow Fauvism in France.
Christ in the slums is Lu's masterpiece of oil painting. In this painting, he shows Christ in a dilapidated street scene. We saw a full moon hanging quietly in the night sky, the moonlight shining on the places where the poor live, the dirty streets extending far away, and the dilapidated adobe houses and chimneys in the background. On this silent night, Christ is leading his fallen people slowly forward. The painter did not paint a halo representing the identity of Christ as savior on his head. For him, Christ does not need to be represented by a halo. He used something completely different from that fake golden light. With his faith and inner love and sympathy, he realized the extraordinary divinity of Christ. He said that Christ is the greatest hope of suffering mankind. Here, all the mysteries are conveyed to us through the painter's brush and through the fiery emotion that permeates the canvas and paint. The expression of this painting is reminiscent of the works of Van Gogh and Gauguin, but it may be closer to the style of medieval window painting. However, those rough black outlines, strong colors and strong brush strokes actually belong to Roo himself.