Portraits of Fauves

Portraits of Fauves

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  • Matisse in Manguin's studio.

    MARQUET Albert (1875 - 1945)

  • Portrait of Henri Matisse.

    DERAIN André (1880 - 1954)

To close

Title: Matisse in Manguin's studio.

Author : MARQUET Albert (1875 - 1945)

Creation date : 1905

Date shown: 1905

Dimensions: Height 100 - Width 73

Technique and other indications: Title attributed: Nude in the studio Oil on cardboard.

Storage place: National Museum of Modern Art - Center Pompidou website

Contact copyright: © Photo CNAC / MNAM Dist. RMN-Grand Palais - Jean-Claude Planchet

Picture reference: 51-000264 / AM3488P

Matisse in Manguin's studio.

© Photo CNAC / MNAM Dist. RMN-Grand Palais - Jean-Claude Planchet

To close

Title: Portrait of Henri Matisse.

Author : DERAIN André (1880 - 1954)

Creation date : 1905

Date shown: 1905

Dimensions: Height 93 - Width 52.5

Technique and other indications: Oil on canvas

Storage place: Matisse Museum website

Contact copyright: © ADAGP, © Photo RMN-Grand Palais - G. Blotsite web

Picture reference: 94-059625 / Inv. 63-4-1

Portrait of Henri Matisse.

© ADAGP, Photo RMN-Grand Palais - G. Blot

Publication date: December 2007

Historical context

Wild animals quarries

Most of the Fauve artists live in Montmartre. Matisse first exhibited at Vollard in 1904, and from 1905 a personality like Marquet also began to enjoy relative notoriety.

Image Analysis

The fawn artist

The portraits of Matisse, painted by Derain and Marquet, attest to both the central role of Matisse and the tendencies of Fauvism. Marquet's painting shows Matisse working after a model, the nude here in the foreground. The work introduces a game, since Marquet thus offers his own vision of the female body posing simultaneously for the two artists. The scene is in Manguin’s studio. The latter, from a bourgeois family that supports his artistic vocation, owns a large workshop on rue Boursault, where wild beasts often meet to discuss and paint. The canvas thus expresses the importance of work after nature for wild animals, and, by the division of the colored touch, that of the reference to pointillism. This source of inspiration becomes central under the leadership of Matisse in 1904-1905.
As for Derain, it was in the fall of 1904, upon his return from military service, that his exchanges with Matisse became very active. During the following summer, Derain joined Matisse at Collioure. Together, and as evidenced by this portrait, they exalt bright, strident colors, meeting their need for expression, removing any concern for plausibility and any descriptive desire. The touch is released, the sketchy drawing, producing an effect of spontaneity.



Fauvism cannot be considered as a pictorial school. Unlike Cubism, which is built around the in-depth research and strict discipline of Braque and Picasso, Fauvism is built on the basis of personal sympathies. This is understandable in particular by virtue of the more emotional than intellectual nature of the process. To fully grasp the importance of these friendship networks, we have to go back to the formative years. We can then distinguish three main groups: the students of Gustave Moreau's workshop and the Académie Carrière (Matisse, Marquet, Camoin, Manguin, Puy), the couple from Chatou (Derain and Vlaminck), and finally, the trio from Le Havre. , last converts, of impressionist lineage (Friez, Dufy, Braque). Interpenetrations multiply rapidly in the common places of learning, work, exhibition, and gradually unify around the prestigious figure and the important activity of Matisse. Artists often go in pairs on the motif. Derain and Vlaminck like to put their easels side by side, in the wind, facing the sun, and press the color tube on the canvas. Marquet follows Matisse closely and often accompanies him outside. From 1905, summer stays in the south will also play a fundamental role in the development of Fauvism, in particular in relation to color.

  • fauvism
  • naked
  • portrait
  • Cezanne (Paul)
  • Matisse (Henri)
  • Gauguin (Paul)
  • Montmartre
  • Moreau (Gustave)
  • Seurat (Georges)


Jean LEYMARIE, Fauvism, Geneva, Skira, 1987 Renata NEGRI, S. VENTURIVan Dongen and the FauvesParis, CELI, 1990.Louis VAUXCELLES, FauvismParis, Olbia editions, 1999 Exhibition catalog Fauvism or the ordeal by fireParis, Museum of Modern Art of the City of Paris, from October 29, 1999 to February 27, 2000.

To cite this article

Cécile PICHON-BONIN, "Portraits of Fauves"

Video: The Fauves Introduction


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