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  • noun

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an art movement launched in 1905 whose work was characterized by bright and nonnatural colors and simple forms

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Plastic expressionism is the abysmal labour of the sensitive, placed through successive sublimation (the sublimation itself being the sign of this deep labour) from the very poetic fauvist of the pure sensation.
With sunshine virtually guaranteed, we looked south, eventually shunning the often crowded Cote D'Azur for the more sedate pleasures of Roussillon and the stunning Cote Vermeille - a beautiful stretch of coast which hugs the Spanish border and inspired 19th-century Fauvists including acclaimed French artist Henri Matisse.
Even when taking into account the historic achievements of both Der Blaue Reiter (Kandinsky and Company) and Die Brucke (founded by Kirchner, Karl Schmidt-Rotluff, and Erich Heckel), it seems fair to say that the greater glory of that moment was captured by the French: by Matisse and the Fauvists, by Picasso and the Cubists.
In well-crafted chapters, Blake describes the interaction between primitivism and the fauvists, cubists, dadaists, surrealists, and, lastly, purists.
It was for the same reason he held himself apart from the Cubists and the Fauvists.
I had heard the rumor that fauvists were obsessed with wolves.
Contemporary primitive florals and figures exhibiting a brilliant, jewel-tine palette and decisive brushstroke reminiscent of early Fauvists.
It plays a role in the music of Wagner, Stravinsky, Schonberg, and Berg; in the paintings of the Impressionists, the Post-impressionists, the Fauvists, the Cubists, the Futurists, Dada, the Surrealists, and so in; in the poetics of Mallarme, Rimbaud, and Baudelaire in France; of Pound, Eliot, and Joyce in England and Ireland; of Kafka, Kraus, Musil, and Mann in Central Europe; and of Chekhov and Dostoevsky in Russia.
In 1905, the exhibition of Fauvists, with Henri Matisse (1869-1954) being the most important among them, introduced the use of nonnaturalistic color to express emotions.
Walking in art history's path, first trodden by the Fauvists and followed through by Warhol, Dylan returns to familiar themes such as Man on a Bridge and Woman in Red Lion Pub, transforming this generation of paintings - with the use of different tones and evocative shades - to breathe a new freshness into each of his works of art.
The fauvists freed his use of color, and he learned from the cubists, though he never joined them: "Let them eat their fill of their square peas on their triangular tables.