Fauvism was a further development of post-impressionism; for example, the fauvists admired the power of van Gogh’s and Gauguin’s colors, and above all Seurat’s rational, clear composition. Fauvism itself did not have any of its own theories or a manifesto. Not until years later did its main representative, Matisse, express himself in theoretical terms about fauvism.
In this writing, he described the experimental tone of fauvism: the fauvists had, to be sure, received important impulses from post-impressionism, but for him, impressionism was too fleeting and pointillism too theoretical. According to Matisse, only fauvism had the necessary sustainability. This longevity was expressed in the elementary quality of the colors and the shapes. This meant that the fauvists used unbroken and bright colors which dominated the compositions so that they became two-dimensional. Shapes were simplified, and light and shadow were faded out. Fauvism also got its name from this unusual manner of representation: upon entering the fauvist exhibit of the Paris Salon d´automne in 1905, the critic Vauxcelles said, when seeing a small marble statuette, "Donatello au milieu les fauves" (Donatello in the middle of the wild animals). Other representatives of fauvism were among others: André Derain, Kees van Dongen, Raoul Dufy, Othon Friesz, Raoul Dufy, Henri Manquin, Albert Marquet, Jean Puy, Georges Rouault, Maurice Vlaminck. In retrospect one can say that fauvism for most of these artists was an experimental phase; already between 1907 and 1909, the loose group of fauvists dispersed.
Related artists: Bonnard, Pierre | Braque, Georges | Chagall, Marc | Dongen, Kees van | Friesz, Emile-Othon | Gauguin, Paul | Herbin, Auguste | Herrmann, Curt | Levy, Rudolf | Matisse, Henri | Modigliani, Amedeo | Moll, Oskar | Peiffer Watenphul, Max | Picabia, Francis | Picasso, Pablo | Rouault, Georges | Vlaminck, Maurice de | Vuillard, Edouard