THE FAUVES AND THE PASSION FOR THE COLOR

The dance, Henri Matisse. 1910

 

 

The MAPFRE Foundation presents this exhibition until January 29, 2017. This exhibition brings together more than one hundred works including painting, drawing, watercolor and ceramic pieces. This movement, famous for being the first great vanguard of S.XX, stands out for the exaltation and saturation of pure tones. He opened the debate on the importance of color independently in the configuration of the artistic work.

 

This group led by Henri Matisse, André Derain and Maurice de Vladiminck, stood out for their energy release and their particular treatment of freedom of expression. At the end of the decade of 1890 they were grouped in the workshops of Gustave Morear and Eugené Carrière and began to create this unique movement. Towards the beginning of the XX century it took shape and began to exhibit, the first was in Hall VII of the Salon d'Automme. After the first critics they adopted the name of "wild animals" (fauve in French).

 

 

Restaurant de la Machine à Bougival, Maurice de Vlaminck. 1905

 

 

Fauvism is characterized by being a heterogeneous current, born of the friendship of a group of young dreamers with a clear idea of ??the future. It barely lasted two years but left the foundations of an artistic claim that has been projected until our days. From here were born expressionism and cubism, this testimony has been strongly recorded in the exhibition of the MAPFRE Foundation. Curated by Maria Teresa Ocaña, this raises a chronological route sectioned in five parts.

 

 

Photo of the exhibition

 

 

The first part of Fauvism before Fauvism, makes a small dissertation about the group of formation of the current and shows that feeling of community that try to transmit the viewer. The second, the fauves are portrayed, show small self-portraits that were made to each other reflecting the perception they had of the group. The third part, acrobats of light, reflect those stays on the blue coast that served as inspiration and fit perfectly in that art of light and color. The fierceness of color, evidence the identity of the fauves, totally disconnected from the naturalistic description. And the last section sections that fork, it refers to the different trails that took the group from 1907.

 

 

Landscape near Chatou, André Derain. 1904

 

 

To conclude the exhibition there is a section dedicated to a group of ceramics that connect closely with the dialogue shown with the painting. A highly recommended visit for these gray winter days that need a color tone. Fauvism, is a claim for all types of public, do not miss this opportunity.

 

 

 

 

 

 

Among the specialised professional profiles that we find in the cultural sector, and more specifically, in the field of visual arts, one of the most recent occupations is that of the curator. The ‘80s put attention on the role of the artist, with its innovative character and the enhancement of its figure as an essential articulator of creative proposals, while the end of the century moved the interest towards the exhibition centres themselves and their work as custodians of current production and as spaces to accommodate all proposals. The change of millennium strongly introduced in this panorama the role of the curator. Perhaps together with a social identity crisis, perhaps with the complexity that contemporary projects are currently acquiring, the need for building, articulating and delving into artistic discourses became evident.

Although the functions entrusted to this profession are not entirely new, since previously they belonged to conservatives, critics or experts according to the themes, the role has gained solidity because it combines all these purposes while allowing the specialisation of other professionals in their fields of competence. Now, as some curators themselves point out, the genuine spirit of this figure, who was born to facilitate the understanding of the discourse, create narratives within a sometimes chaotic and scattered context, mediate between the works and the spectator and create bridges between contemporary art and society.

The art of our day raises a multitude of unknowns for the visitor who must face proposals many times away from the aesthetic standards, which gives way to uncertainty and confusion; but, in turn, these works employ a closer language, materials and even compositions detached from the sophistication and the technical display of yesteryear, something that, far from favouring proximity to the message, generates some distancing. What we have just described is part of the very essence of current art. The questioning of the formalist guidelines and the recourse to tangible elements that are more utilitarian than embellishing are the new criteria of creation, where, above all, the message to be conveyed stands out.

Likewise, another inherent characteristic of the work of our time is the artists' concern for more immediate themes, for social, political and economic issues that seek to create a narrative and conceptual revulsion, leaving behind the aesthetic priority or, rather, making of the message its own aesthetic. In this context, strange as it may seem, contemporary creation encounters a linguistic barrier hindering the viewer's understanding. And to this circumstance, the abundant current production is added, covering a wide range of themes that are nothing more than a transcript of our diverse and globalised society.

The curator helps to facilitate this understanding by articulating a coherent discourse that allows the grouping of related ideas to set up the message. This requires to have an in-depth knowledge of the current state of the art, the lines of work of the creators, the most recent aesthetic proposals and the real demands of society to bridge the dialogue and allow the approach to art. If art deals with the same issues that concern us all, how can we not share its postulates? Cultural mediation requires the work of the curators to open a small window for reflection and to enable a space for exchange and idea generation. We share the thought that José Guirao expressed in a recent interview: "The curator is someone who reveals something new, and it would be a mistake for curators to become managers."

Understood this way curator’s role, many institutions have joined the trend of creating specific calls for new professionals to give light to their proposals. Let us remember, as an example, the call "Unpublished" of La Casa Encendida, or "Curator wanted", of the Community of Madrid or the call of Curating of La Caixa.