Louis Valtat,
In the South of France, c. 1908.

Oil on canvas, 60 x 73.5 cm.

State Hermitage Museum, Saint Petersburg.

 

 

Undoubtedly, the concept of Fauvism includes both, the brief period when the group as well as the qualities of colour common to the painting of the majority. But the mighty impulse, known as Fauvism, which became one of the strongest foundations of twentieth-century painting is in fact far more complex and encompasses a sum total of many qualities. It was precisely the variety of these which attracted artists of very different kinds to Fauvism.

It embraced Matisse, who was engrossed in the science of his painting — in Salmon’s words, “a bearded painter in gold glasses, who brought a tone of severity, of professional gravity to the discussion,”[11] and the spontaneous Vlaminck who provoked the envy of friends from Montmartre for just the opposite reason: “How does that bugger Vlaminck manage to be so modern without the help of the least intellect. On the contrary!”[12] The ironical Van Dongen, susceptible to any kind of fame, be it scandalous or worldly, “...the painter of wenches, risen through the ranks to become portraitist to the great tarts, to achieve at last the glory of immortalizing dressmakers and duchesses who compete as patrons of the arts.”[13] And finally, the humblest of the humble, Marquet, who confided to Vlaminck: “I want to become a cab driver! I would earn enough to keep me and while I was waiting for a fare I could draw...”[14]