Word: derain
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...painting rediscovered primary color: red, blue, yellow; colors he put down on the canvas right next to each other, vibrating wildly, with no concern for reality. By 1905 many Parisian critics still found the color combinations emerging from this Postimpressionist art peculiar. Matisse and his French followers, André Derain and Maurice de Vlaminck, were nicknamed les fauves (the wild beasts) because they painted lemon yellow and lime green skies above pea green seas upon which sailed geranium red boats. There was another wild color that these Fauves used: white. In Alfred Sisley's Impressionist view of Willows...
...early rooms fizz with life. Before World War I, artists were experimenting like children with a chemistry set. Here are pieces from the studios of the great and the less-great who splashed the lurid colors of the Fauve (Wild Beast) school onto the reality they lived. André Derain's scarlet-haired Woman in a Chemise of 1906 gazes up from a rumpled bed, while Auguste Chabaud's deserted Hotel Corridor of 1907-8 reveals only a suggestive line of light under a door...
That reaction was better than some others. Leo Stein, Picasso's wealthy American patron, called the painting a "horrible mess." Henri Matisse, with whom Picasso maintained an edgy rivalry, doubled up in laughter when he saw the work in Picasso's studio. Andre Derain, a painter who was becoming friendly with Picasso, warned an acquaintance: "This can only end in suicide. One day, Picasso will be found hanging behind the Demoiselles...
...year-old Impressionist and then a 16-year-old Symbolist, painting his grandmother sewing in a foggy all-blue room; this veiled figure is the first of the Sibylline crones who would keep turning up in his later work. He does Fauve blotches -- Mediterranean with measles, after Matisse and Derain -- and combines them with elements of the classicizing movement which, in Catalunya, was known as noucentisme (20th century-ism), with "timeless" peasant figures, olive trees and old arches...
...premise of the book is that modernism is a heartening enterprise, a celebration, and should be recognized and applauded as such. Modernist "primitivism" in the vein of Picasso, Derain, Lachaise and Matisse was an attempt to reinvigorate culture, to rediscover the visceral in art, and its impact was a widespread and undeniable celebration of the senses, from Picasso's "The Race" (painted in 1922, the same year as Ulysses and "The Waste Land") to Josephine Baker's Paris performances to the jazz rage of the 1920s and 1930's. Modernism brought with it a sense of sophisticated gusto. It seemed...