{"id":10672,"date":"2015-04-29T21:52:12","date_gmt":"2015-04-29T19:52:12","guid":{"rendered":"http:\/\/egophobia.ro\/?p=10672"},"modified":"2015-05-29T22:09:15","modified_gmt":"2015-05-29T20:09:15","slug":"scurta-viata-a-fovismului","status":"publish","type":"post","link":"https:\/\/egophobia.ro\/?p=10672","title":{"rendered":"Scurta via\u0163\u0103 a Fovismului"},"content":{"rendered":"

de Adrian Grauenfels <\/em><\/p>\n

 <\/p>\n

\nPe la 1904 pictorul Henri Matisse, aflat cu amicii Paul Signac \u015fi Edmond Cross la Saint-Tropez, \u00eencearc\u0103 un gen pictural nou. Mult\u0103 culoare, aplicat\u0103 abundent, cu o cromatic\u0103 \u00een contrast, care accentua toate virtu\u0163iile p\u00e2nzei \u00een lucru. Anul urm\u0103tor el continu\u0103 experimentele cu culori puternice \u00eempreun\u0103 cu pictorul Derain la Collioure. Se str\u00e2ng destule tablouri cu care cei doi vor participa la “Salonul de Toamn\u0103” din 1905.<\/p>\n

\n
\n[Derain]\n<\/p>\n

 <\/p>\n

\nUn critic de art\u0103, Louis Vauccelles, observ\u0103 o statuie renascentist\u0103 uitat\u0103 pe piedestal \u00een mijlocul s\u0103lii unde expuneau tinerii (Matisse, Derain, Rouault, Vlaminck). “Donatello \u00eentre s\u0103lbateci!” (\u00een francez\u0103: fauves<\/em>) exclam\u0103 criticul \u015fi a\u015fa s-a n\u0103scut numele mi\u015fc\u0103rii. Al\u0163i critici au fost \u015fi mai agresivi: “O g\u0103leat\u0103 de vopsea a fost aruncat\u0103 \u00een obrazul publicului” scria Camille Mauclair. Cele mai multe ironii le cap\u0103t\u0103 lucrarea lui Matisse “Femeie cu p\u0103l\u0103rie”, dar fra\u0163ii Stein achizi\u0163ionez\u0103 acest tablou salv\u00e2nd autorul din starea de depresie \u00een care c\u0103zuse. Mi\u015fcarea cap\u0103t\u0103 noi aderen\u0163i, de\u015fi nu avea un program bine stabilit. <\/p>\n

\n
\n[Matisse]\n<\/p>\n

Culorile arbitrare, pure, dizarmonii voite, tu\u015fele neglijente, senza\u0163ia de nefinisare erau atributele principale ale curentului.
\nMatisse c\u0103uta o anume “stare de condensare a emo\u0163iei”, dar tablourile se n\u0103\u015fteau dup\u0103 lungi discu\u0163ii \u015fi preg\u0103tiri. Scandalul produs \u00een 1905 marcheaz\u0103 na\u015fterea public\u0103 a mi\u015fc\u0103rii Fove. \u00cen general fovi\u015ftii pictau peisaje, cu culori extrem de intense, reu\u015find s\u0103 ob\u0163in\u0103 efecte emo\u0163ionale sau decorative. De exemplu, Vlaminck a produs superbe imagini ale satelor Chatou \u015fi Bougival, fiind at\u00e2t de entuziast \u00een execu\u0163ie \u00eenc\u00e2t storcea vopselele din tub direct pe p\u00e2nz\u0103. Chiar \u015fi ast\u0103zi tablourile lui transmit emo\u0163ie \u015fi exaltare.<\/p>\n

\n
\n[Vlaminck]\n<\/p>\n

 <\/p>\n

\n\u00cen 1906 se deschide la Paris “Salonul Independen\u0163ilor”. Al\u0103turi de Matisse au ap\u0103rut nume noi precum Van Dongen, Marquet, Manguin. Pe scena european\u0103, Munch preia \u015ftafeta fovist\u0103, multe din lucr\u0103rile sale p\u0103r\u00e2nd a fi o direct\u0103 reac\u0163ie la acest curent. La Praga, vom \u00eent\u00e2lni “Grupul celor 8” condus de Emil Filla \u015fi Bohumil Kubista, ai c\u0103rui membri produc o gam\u0103 larg\u0103 de picturi foviste \u015fi expresioniste. Un alt ceh, stabilit la Paris, Kupka trece printr-o faz\u0103 fovist\u0103 spectaculoas\u0103, folosind culorile \u00eentr-un mod halucinant.
\n\u00cen Germania, la Dresda, un grup numit “Die Brucke” (Podul) era condus de Heckel, Kirchner \u015fi Pechstein. Acesta din urm\u0103 viziteaz\u0103 Parisul \u00een 1907 \u015fi-l invit\u0103 pe Kees van Dongen s\u0103 apar\u0103 \u00eentr-o expozi\u0163ie comun\u0103 a fovi\u015ftilor francezi \u015fi germani deschis\u0103 la Dresda. La M\u00fcnchen influen\u0163a fovismului se \u00eemplete\u015fte cu arta popular\u0103 german\u0103 \u015fi rus\u0103, exponen\u0163ii de acolo fiind Kandinsky \u015fi Jawlensky.<\/p>\n

\n
\n[Kandinsky]\n<\/p>\n

 <\/p>\n

\nDiferit de ceilal\u0163i fovi\u015fti, van Dongen prefer\u0103 portretul. El inventeaz\u0103 un nou mod de expresie, figurile sale sunt senzual sunt construite din linii groase de o brutal\u0103 frontalitate. Culorile arbitrare pe care le folosea pe c\u00e2nd picta \u00een atelierul din Bateau Lavoire (1906) \u015focheaz\u0103 chiar pe Vlamink \u015fi pe Derain. Iubita lui Picasso Fernande Olivier \u00eei pozeaz\u0103. \u00cen Olanda, fovismul lui van Dongen a fost preluat de Sluijters \u015fi Mondrian. Van Dongen se va al\u0103tur\u0103 grupului Die Brucke \u00een 1908.<\/p>\n

\n
\n[Dongen]\n<\/p>\n

 <\/p>\n

\nDup\u0103 Salonul din 1907, mi\u015fcarea fovist\u0103 decade. Ecouri mai g\u0103sim \u00een lucr\u0103rile lui Dufy sau Marquet care produc picturi despre via\u0163a \u015fi clipele de odihn\u0103 \u00een Normandia sau aiurea. Arti\u015ftii \u00eencep s\u0103 se separe \u015fi s\u0103 caute drumuri proprii. De\u015fi o mi\u015fcare de scurt\u0103 durata, fovismul a influen\u0163at enorm arta european\u0103, a cristalizat expresionismul german, \u015fcoala olandez\u0103 \u015fi a produs numeroase capodopere prin pensulele unor mari pictori precum Matisse, Derain, Vlaminck sau Munch.<\/p>\n

\n
\n[Munch]<\/p>\n","protected":false},"excerpt":{"rendered":"

de Adrian Grauenfels   Pe la 1904 pictorul Henri Matisse, aflat cu amicii Paul Signac \u015fi Edmond Cross la Saint-Tropez, \u00eencearc\u0103 un gen pictural nou. Mult\u0103 culoare, aplicat\u0103 abundent, cu o cromatic\u0103 \u00een contrast, care accentua toate virtu\u0163iile p\u00e2nzei \u00een lucru. Anul urm\u0103tor el continu\u0103 experimentele cu culori puternice \u00eempreun\u0103 cu pictorul Derain la Collioure. […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1083,118],"tags":[87,1084,1127],"class_list":["post-10672","post","type-post","status-publish","format-standard","hentry","category-egophobia-43","category-imagini","tag-adrian-grauenfels","tag-egophobia-43","tag-imagini"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6DakB-2M8","_links":{"self":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/10672","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10672"}],"version-history":[{"count":7,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/10672\/revisions"}],"predecessor-version":[{"id":10679,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/10672\/revisions\/10679"}],"wp:attachment":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10672"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10672"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10672"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}