Word: fauvist
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Dates: during 1960-1969
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...heroic myth of the theatrical, but rather the awareness of anonymity and other sorrows. Influenced more by Giacomo Leopardi, the great Italian poet of the nineteenth century, and by Mallarmé, than by the aesthetic exigencies of his own age, Ungaretti shared with his close friends Apollinaire and the Fauvist Braque a profound despair over history's irrationality. But Apollinaire never survived the War, and those who did were so shattered and forlorn that their only response was that of an iconoclastic Dadaism...
Just as one Paris retrospective lit the fuse for the 1905 Fauvist explosion, so in 1907 another snuffed it out. In that year, painters trooped in to view the Cezanne memorial retrospective. Before long, palettes all over Montmartre darkened as artists imitated Cezanne's can vases, which emphasized structure at the expense of color. The result was cubism, which is based in part on Cezanne's injunction: "Nature must be treated through the cylinder, the sphere, the cone." Vlaminck tried his hand at cubism, but with no great success. After four years in the French army, he emerged...
...unfair. The work is simply not of the same order." He is at least 91.23% correct, though the distinction is not likely to disturb the average museumgoer, who will revel in the early, if decidedly familiar canvases by Matisse, Chagall, Braque, Dufy, Derain, Vlaminck and other cubist and fauvist favorites. Particularly impressive: Picasso's rarely shown room-sized stage curtain from the 1917 production of Diaghilev's ballet, Parade...
Braque's versatility as a painter is legendary and a wide range of his development in oils can be seen here. A few examples include a 1906 land-scape very much like Fauvist work, particularly reminiscent of Vlaminck. Later, in 1911, at the height of the Cubist period, Braque painted the "Still Life with Banderilas," one of a series of muted-tone exercises almost indistinguishable from Picassos of the same period. Three still lifes, one of 1929, another 1939, and of 1941 show his developing interest. The first includes a lemon painted to look flat, while on an adjacent goblet...
...artists is American daily life, but the dark, flamboyant style that Henri encouraged among Hopper's fellow students, most notably George Bellows and Rockwell Kent, was not for Hopper. Instead, he went on to Paris, absorbed the lighter palette of the impressionists-and remained totally aloof from the Fauvist and cubist revolutions going on around...