Word: derains
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...Metropolis" does not pretend to cover every kind of image made by artists and craftsmen in the '20s. Its focus is the city, and that alone -- so that although it includes Fernand Leger's The Mechanic, 1920, the arcadian strains in '20s French painting, Matisse and Derain, for example, find no place in it. And quite a lot of lesser art does because -- derivative or coarse though it sometimes is -- it has something to say about the pervasiveness of imagery. Much of Weimar-period German art is a crude mix of De Chirico and cartooning, but one doesn't object...
...FAUVE LANDSCAPE: MATISSE, DERAIN, BRAQUE, AND THEIR CIRCLE, 1904-1908, Los Angeles County Museum of Art. In one of the most productive periods of French art, the Fauves, or "wild beasts," created works that shocked the public and . altered the course of 20th century painting. Through...
...earliest paintings in this show, like the portrait of his grandmother from 1900-02, are timid, earnest homages to Corot and Boudin. In 1905 he saw what Matisse and Derain had done at Collioure, under Van Gogh's spell, with the hot colors and white light of the Midi. Prodded by his friends Othon Friesz and Raoul Dufy, he began to paint the colder northern light of Antwerp in a fauve style. But in this early work there is a sense of discomfort. Braque did not draw very well, and, as he lacked the graphic fluency of his mentors...
...high points of this show are conservative in the best sense, such as Kishida Ryusei's superrefined Still Life (Three Red Apples, Cup, Can, Spoon), 1920, in which the Japanese passion for wabi -- unfussed, natural simplicity -- finds its way into a still-life scheme inherited from Andre Derain. When Umehara Ryuzaburo went to extremes in 1938 with Nude with Fans, the limbs drawn in thick dissonant red and green lines, his prototype was Matisse's work of 30 years before. Occasionally one picks up some shadows and echoes of cubism -- a broken plane here, a little faceting or transparency there...
...surplice, who looks like a dangerous rhinoceros, the people drinking absinthe, all seem to me creatures from another world." In fact, his stay there began the general pattern of migration southward that would be as obligatory for early modern French artists-Signac to Saint-Tropez, Matisse to Nice, Derain to Collioure-as a stint among the marbles of Rome had been to their 18th century forebears. Provence presented itself as a museum of the prototypes of strong sensation: blazing light, red earth, blue sea, mauve twilight, the flake of gold buried in the black depths of the cypress; archaic tastes...