Fauvism and Cubism: Defining Early 20th-Century Art

Fauvism: Color and the Joy of Living (1905–1908)

The avant-garde movement of Fauvism (1905–1908) was introduced by artists at the exhibition of the Salon d'Automne in Paris. This movement represented a synthesis of:

• Impressionism
• Post-Impressionism (characterized by flat surfaces)
• Symbolism (incorporating oriental, ornamental, and decorative elements)

Fauvism was defined by the energy and excitement of its colors. Artists did not seek to imitate nature but to create, aiming to capture only the essence of reality that possessed strength and vigor. They wanted painting to express the joy of living, often emphasizing the surface of the canvas itself.

Cubism: Fragmentation and Multiple Perspectives

Cubism, arguably the most important contribution of the avant-garde, began to gain prominence at the Paris Salon d'Automne of 1907, led primarily by Pablo Picasso. The movement followed an internal logic based on treating nature through geometric forms (cylinder, sphere, cone) and constructing objects using color. Its first major exhibition was the Salon des Indépendants in 1911.

Cubism is characterized by the fragmentation of construction and the representation of reality through multiple planes, establishing a fundamental difference between the object and its image.

Key Stages of Cubism

The painting Les Demoiselles d'Avignon (Picasso, 1907) marked the beginning of the Cubist movement, which developed through the following stages:

1. Proto-Cubism (1908–1909): The early stage of investigation.
2. Analytical Cubism (1909–1911): Deployed by Picasso and Georges Braque, deepening the initial investigations through severe fragmentation.
3. Synthetic Cubism (1911–1914): Began with the use of papier collé and collage. Key figures were Picasso, Braque, and Juan Gris.

Cubist Sculpture and Influence

Cubist sculpture utilized color and non-precious, recycled materials. When assembled, these works concretized planes and space rather than traditional volume or mass.

Cubism greatly influenced subsequent avant-garde movements, including Expressionism, Futurism, and Constructivism, serving as an unavoidable reference point in the genesis of abstract art.

Classical Revival: Architectural and Artistic Principles

The following characteristics describe a period focused on classical revival and humanism, exemplified by figures like Brunelleschi and Donatello.

Architecture: Human Scale and Ideal Forms

Architects utilized the arch and barrel vault, designing rectangular buildings that returned to human scale proportions. Key architectural concepts included:

• The design of the ideal city.
• The redevelopment of urban palace-residences for wealthy nobles and the bourgeoisie.
• The construction of town or country residences for the affluent.

Religious architecture often featured highly decorated Latin cross temples. A principal figure in this architectural shift was Filippo Brunelleschi.

Sculpture: Pagan and Religious Themes

Sculpture embraced both pagan and religious tendencies, primarily utilizing materials such as marble and bronze. The principal sculptor was Donatello, whose works include his famous David, the first known freestanding nude bronze cast since antiquity.

Painting: Diverse Subjects and Techniques

Painting subjects were varied, encompassing religious themes, mythology, portraits, and historical scenes. Artists employed both tempera and oil on panel.