Oil on canvas - Musée d'art moderne Andre Malraux, Le HavreĪ student of Moreau and a friend of Matisse, Rouault brought a more somber, psychologically observant approach to his early Fauvist works like At the Circus. However, Dufy's apparently unpolished brushwork and the bare edges of the canvas do not detract from the work instead, they evoke an overall mood of breeziness and gaiety. From the ship's mast at the center of the composition dances an array of nautical flags each one is a small abstraction of color and shape. The scene is painted in a stylized notation of quick brushstrokes: a scattering of small curved dabs for the waves, tiny blocks of color for the quayside buildings, and rough, abbreviated strokes for the forms of passing pedestrians. The abrupt diagonal line of the wharf at left, for example, has a destabilizing effect.
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Although this imagery is largely naturalistic, Dufy's rejection of traditional perspective and his unconventional paint application are avant-garde. This view includes several docked ships against a background of local architecture. 1905 Yacht at Le Havre Decorated with Flagsįollowing in the footsteps of Claude Monet and Eugene Boudin, Dufy painted numerous scenes of Le Havre, a port town located on France's northwestern coast. Oil on canvas - The Barnes Foundation, Merion, PAĬ. The Joy of Life was as influential as another large figurative canvas, Picasso's Les Demoiselles d'Avignon (1907), in its expressive reimagining of the human figure and its surroundings. This idyllic scene unites thematic and visual influences from the Renaissance to Art Nouveau to Persian miniature painting, but it does so in a way that is undeniably modern.
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Pairings of complementary colors (red and green, purple and yellow) produce strong visual contrasts that almost seem to vibrate, and the traditional means of suggesting depth and lighting have been eliminated. They are connected to each other and to the vividly colored landscape by a sinuous network of curving lines and by the artist's radical use of the same pure colors for all the elements of his composition. Matisse's nudes perform activities of sensual bliss: dancing, making music, and embracing.
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Although the subject of merry-making figures within a pastoral setting is a venerable one in Western art, Matisse's daring use of non-natural color to structure this enigmatic world, and his free delineation of its inhabitants, gave a fresh update to this imagery. The Joy of Life, possibly Matisse's best-known Fauvist work, was created in response to the negative critical reactions that followed Matisse's contributions to the 1905 Salon d'Automne.