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Nevertheless, Fauvism (much helped by its name) is conventionally taken as the first modern art movement-"modern" because scandalous to the bourgeois of 1905. Its explosive nature has been much strummed upon, but we do not see enough of the paintings themselves. How do they look now, 70 years later...

Author: /time Magazine | Title: Art: Stroking Those Wild Beasts | 3/29/1976 | See Source »

Those who still cling to a belief in the "revolutionary" powers of art will no doubt be irritated, but the appropriateness of Elderfield's approach is borne out by the very first room of the show, which holds two celebrated and once controversial Fauve paintings: Matisse's Luxe...

Author: /time Magazine | Title: Art: Stroking Those Wild Beasts | 3/29/1976 | See Source »

The glory of the show is, however, its early Matisses from the Schuhkin collection. Almost from the day the two men met (in 1906, in Paris), Schuhkin's appetite for Matisse's pictures was ravenous. Over the next seven years he bought at least 37 of them. It...

Author: /time Magazine | Title: Art: Riches from Russia | 4/2/1973 | See Source »

Immanent Abstraction. "I don't create women," he once snapped at a critic. "I paint pictures." It sounded like an aphorism. What it meant to Matisse is suggested by his very early (1896), very realistic portrait of a Breton girl. She is subdued, even sallow, but curiously taking: look...

Author: /time Magazine | Title: Art: Matisse's Imprint Upon an Age | 7/13/1970 | See Source »

At Parke-Bernet's auction, other paintings of value brought high prices: a Pissarro went for a record $260,000, a 1906 Picasso for $430,000, believed to be a record for the Rose Period. A fauve-period Dufy, Les Trois Ombrellas, was bought by Houston's John...

Author: /time Magazine | Title: The Market: New Record | 10/18/1968 | See Source »

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