This text is devoted to the colourful landscapes produced during the Fauvist period of 1904-1908. An essay on the emergence of the Fauve landscape is followed by four essays devoted to individual sites and such topics as Fauvism's impact on tourism and politics. Another essay concentrates on the critical landscape, in essence the critics' reception of these paintings. Matisse, Braque, Derain, Vlaminck, Dufy, Marquet, Manguin and Friesz are represented with examples of their works.

The relationship between the great Post-Impressionist artist Henri Matisse and his son, influential art dealer Pierre Matisse (1900-1989), is at the heart of this deftly revealing and moving biography, now available in paperback. Pierre Matisse moved from France to New York in his 20s to establish a gallery, where he introduced such major European artists as Miró, Giacometti, Balthus, and Dubuffet to the United States. Renowned art critic John Russell has created a seamless narrative based on exclusive access to Pierre Matisse’s vast unpublished archives, which hold 30 years of near-daily letters between father and son as well as a vast correspondence with the artists he represented. The result is an insider’s look at the lives and creative efforts of some of the 20th century’s most important artists.

The book presents a survey of art from the first two decades of the 20th century. The authors begin by exploring how aspects of the primitive were invoked by rural artists' colonies formed in France and Germany at the end of the 19th century and by the work of the Fauves and the German Expressionists a few years later. The book then develops an analysis of Cubist works based on semiotic theory, considering the social and cultural values encoded in such signifying systems, and investigating the relationship between representation and ideology. The final chapter considers some problems of interpretation and evolution posed by specific examples of abstract art ranging from Malevich to Mondrian.

Lavishly produced in oversize format, here is the complete illustrated catalogue of a landmark new exhibition devoted to the artist--the largest ever assembled--to be held at The Museum of Modern Art, New York, from September through January. Includes biographical notes, a chronology, and introductions to each major period of Matisse's career. 320 colorplates reproduce every painting and cutout in the exhibition; 92 black-and-white plates illustrate the sculptures, drawings, and prints; and 180 illustrations show related works not in the exhibition.

 Born at the dawn of the 20th century, Fauvism burst in 1905 Salon d'Automne with a resounding scandal. It was like throwing colors at the face of the academic art entangled in its ancestral conventions.            Then several artists, like Matisse, Derain or Vlaminck, searched for a new chromatic language by diverting the color from its signified. Freed from any connotation, applied in flat tints, the color, they claimed as their only standard, impregnated their stunning paintings.            The author invites us to this ball of vivid and bold colors, and shows us how the violence of the Fauves left its mark on the path to modernity.

With more than 100 illustrations -- approximately 48 in full color -- this innovative series offers a fresh look at the most creative and influential artists of the postwar era. Modern Masters form a perfect reference set for home, school, or library. Each handsomely designed volume presents: - A thorough survey of the artist's life and work- Statements by the artist- An illustrated chapter on technique- Chronology- Lists of exhibitions and public collections- Annotated bibliography- Index

Led by Henri Matisse and André Derain, and briefly counting Georges Braque among its ranks, Fauvism advanced a spontaneity and apparent wildness of brushwork and color that won the movement its derogatory tag of Les Fauves (the wild beasts). Despite its notoriety, the Fauvist influence upon Hungarian artists is rarely considered. These artists enthusiastically embraced the use of broad swaths of flat, violent color that characterized the movement. Dialogue Among Fauves explores the impact of Fauvism on Hungarian art from 1904 to 1914, demonstrating that the official account of modernity always overlooks a wealth of peculiarities hidden in its margins. Bringing together works from major Hungarian museums and private collections, this publication includes works by Róbert Berény, Géza Bornemisza, Tibor Boromisza, Béla Czóbel, Valéria Dénes, Sándor Galimberti, Vilmos Huszár, Béla Ivány Grünwald, Ödön Márffy, Vilmos Perlrott-Csaba, József Rippl-Rónai, Lajos Tihanyi and Sándor Ziffer.

"A remarkable, comprehensive achievement."—The New York Times Book ReviewAn absorbing reappraisal of Les Fauves—their ideas, paintings and the critical response to their works. 171 illustrations, 24 in color

Fauve paintings, with their bold distortion of forms and exuberant colour, created great controversy when they were first exhibited in the early years of the 20th century. In this account of Fauvism, James Herbert examines significant paintings of the most famous members of the school - Matisse, Derain and Vlaminck - and shows that what appeared to be their artistic simplicity in fact disguised an involvement in many of the pressing issues of the day. Herbert examines key paintins that exemplify the central themes of Fauvism, analyzing them in the light of the political-cultural debates of the time and relating them to other visual and verbal texts - from political tracts and art-critical writings to tourist postcards and travel guidebooks. Herbert argues that Fauve pictures defined an aesthetic of the landscape that facilitated the cultural expansion of Parisians into the suburbs as residents and into the south of France and overseas as tourists. Matisse's pictures of nudes both articulated a gendered dynamic vision and contributed to the colonial project of knowing Africa. And Fauve paintings, by combining the "grande tradition" of classical painting with the legacy of Impressionism and post-Impressionism, fused tradition and innovation to portray a national culture. In examining the paintings in their broader contexts, Herbert establishes how they redefined and reconfigured the artistic traditions that they inherited and how they dissimulated politics as art. This book should be of interest to art historians, cultural historians and those involved in the investigation of the politics of representation.