Word: fauvism
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...worthwhile to remember that such art -- which, mutatis mutandis, has also been the formal state style of Hitler, Mao Zedong and not a few minor figures including Saddam Hussein -- has meant more to more people in the past 60 years than all the sanctified Modernist styles, from Fauvism to Pop, rolled together. Like Modernism's, its roots lay in the 19th century. If Modernism grew from Manet, Monet and Cezanne, Socialist Realism emerged from their conservative opposition -- the academic and narrative work that was the institutional art of Europe a century ago. In Russia the hugely popular landscapes and genre...
...Eaves -- a brown, dim room with a blaze of sacramental light at the end, a glimpse of apricot wall and flowering tree. From then on it will appear whenever he is at full pitch: in The Open Window, 1905, as he is creating the speckled, radically colored world of Fauvism at Collioure in the south of France; in the great "decorative" paintings of 1908-12 like Conversation; in the astoundingly bare and mysterious French Window at Collioure, 1914; and so on to the palm tree that, like a firework in the garden, fills the window of Interior with an Egyptian...
...dreams of the future of art, with an eye for promotion and a remarkable ability to get under the skin of other artists. His decisiveness was amazing. A weak start -- some feeble pastiches of Impressionism, and then a brief phase of yearning Symbolist mystagogy. But then the impact of Fauvism kicked in around 1910, and there was no stopping him. With a kind of relentless metabolic energy, Malevich started grinding through the styles of the Parisian avant-garde, producing unmistakably Russian paintings as he did so. "I remained on the side of peasant art and began to paint...
...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, his responses to fauvism were awkward and corseted...
...plane here, a little faceting or transparency there -- but in general the Japanese seem to have avoided it, with one exception: Yorozu Tetsugoro (1885-1927). The self-styled wild man of the Japanese expatriates ("I am a kind of walking aborigine," he proclaimed), Yorozu ran through Van Gogh and fauvism and, after returning to Japan in 1907, arrived at a frenetic mixture -- synthesis is not the right word -- of expressionism and cubism in works like Self Portrait with Red Eyes...