{"id":32189,"date":"2026-11-04T14:13:07","date_gmt":"2026-11-04T13:13:07","guid":{"rendered":"https:\/\/oraziopuglisi.art\/index.php\/le-fauvisme\/"},"modified":"2026-11-04T14:22:29","modified_gmt":"2026-11-04T13:22:29","slug":"le-fauvisme","status":"publish","type":"page","link":"https:\/\/oraziopuglisi.art\/index.php\/le-fauvisme\/","title":{"rendered":"Le Fauvisme"},"content":{"rendered":"<p class=\"opa-ref\" style=\"text-align: center; font-size: 0.85em; line-height: 1.5;\"><em><strong>Image d&rsquo;en-t\u00eate :<\/strong> Andr\u00e9 Derain, <em>Le Port de Collioure<\/em>, 1905 (<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Derain,_Andr%C3%A9_%E2%80%94_Le_port_de_Collioure_(Der_Hafen_von_Collioure)_1905_(screenshot).jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>, Public domain)<\/em><\/p>\n<div class=\"opa-soutien\" style=\"text-align: center; margin: 0 0 1.6em;\">\n<form style=\"display: inline-block; margin: 0 0 .4em;\" action=\"https:\/\/www.paypal.com\/donate\" method=\"post\" target=\"_top\"><input name=\"hosted_button_id\" type=\"hidden\" value=\"QSSRVLDUKP2MG\" \/><input style=\"border: 0;\" title=\"Faire un don avec PayPal\" alt=\"Faire un don avec PayPal\" name=\"submit\" src=\"https:\/\/www.paypalobjects.com\/fr_FR\/FR\/i\/btn\/btn_donateCC_LG.gif\" type=\"image\" \/><\/form>\n<p><span style=\"font-size: 0.9em;\"><a href=\"https:\/\/oraziopuglisi.art\/index.php\/soutenir\/\">Soutenir mon travail<\/a> \u00b7 <a href=\"https:\/\/oraziopuglisi.art\/index.php\/abonnements\/\">Tout lire sans limite<\/a> \u00b7 <a href=\"https:\/\/www.amazon.fr\/Livres-Orazio-Puglisi\/s?rh=n%3A301061%2Cp_27%3AOrazio+Puglisi\">Mes livres<\/a><\/span><\/div>\n<style>.opa-art{font-size:1.04em;line-height:1.75}.opa-art h2{margin-top:1.6em}.opa-art h3{margin-top:1.8em;color:#7a1f2b}.opa-fig{position:relative;left:50%;transform:translateX(-50%);width:min(1000px,94vw);margin:2.2em 0}.opa-fig img{width:100%!important;height:auto!important;max-width:none!important;display:block;box-shadow:0 10px 34px rgba(0,0,0,.25);border-radius:3px}.opa-fig figcaption{max-width:720px;margin:.8em auto 0;font-size:.82em;line-height:1.5;text-align:center;opacity:.8}.opa-lettrine:first-letter{float:left;font-family:Georgia,serif;font-size:3.4em;line-height:.9;padding:.05em .12em 0 0;color:#7a1f2b}.opa-biblio{font-size:.92em}<\/style>\n<style>.opa-gal{display:grid;grid-template-columns:repeat(auto-fill,minmax(240px,1fr));gap:16px;margin:1.6em 0;position:relative;left:50%;transform:translateX(-50%);width:min(1100px,94vw);background:#fbf8f3;padding:18px;border-radius:8px;box-sizing:border-box;color:#222}.opa-gal figure{margin:0}.opa-gal img{width:100%!important;height:220px!important;object-fit:cover;border-radius:4px;box-shadow:0 6px 18px rgba(0,0,0,.2)}.opa-gal figcaption{font-size:.78em;line-height:1.4;margin-top:.4em;opacity:.9}.opa-vidbox{position:relative;padding-top:56.25%;margin:1.2em 0;border-radius:6px;overflow:hidden;box-shadow:0 8px 24px rgba(0,0,0,.25)}.opa-vidbox iframe,.opa-vidbox video{position:absolute;inset:0;width:100%;height:100%;border:0}.opa-dl li{margin:.4em 0}.opa-dl a{font-weight:600}<\/style>\n<div class=\"opa-art\">\n<h2 style=\"text-align: center;\">Le Fauvisme (1905-1910) : la couleur lib\u00e9r\u00e9e<\/h2>\n<p class=\"opa-lettrine\">\u00c0 l&rsquo;automne 1905, dans la salle VII du <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Salon_d'automne\" target=\"_blank\" rel=\"noopener\">Salon d&rsquo;automne<\/a> \u00e0 Paris, le public d\u00e9couvre des toiles aux couleurs si violentes qu&rsquo;il croit \u00e0 une provocation. Au centre de la pi\u00e8ce tr\u00f4ne un petit buste de facture classique ; le critique <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Louis_Vauxcelles\" target=\"_blank\" rel=\"noopener\">Louis Vauxcelles<\/a> s&rsquo;exclame : \u00ab Donatello parmi les fauves ! \u00bb Le mot reste. Autour d&rsquo;<a href=\"https:\/\/fr.wikipedia.org\/wiki\/Henri_Matisse\" target=\"_blank\" rel=\"noopener\">Henri Matisse<\/a>, d&rsquo;<a href=\"https:\/\/fr.wikipedia.org\/wiki\/Andr%C3%A9_Derain\" target=\"_blank\" rel=\"noopener\">Andr\u00e9 Derain<\/a> et de <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Maurice_de_Vlaminck\" target=\"_blank\" rel=\"noopener\">Maurice de Vlaminck<\/a>, une poign\u00e9e de jeunes peintres vient d&rsquo;inventer le premier grand mouvement d&rsquo;avant-garde du XXe si\u00e8cle : le <a href=\"https:\/\/fr.wikipedia.org\/wiki\/fauvisme\" target=\"_blank\" rel=\"noopener\">Fauvisme<\/a>. Pendant trois ou quatre ans \u00e0 peine, la couleur cesse de d\u00e9crire le monde pour exprimer l&rsquo;\u00e9motion du peintre. Rien, ensuite, ne sera plus comme avant.<\/p>\n<figure class=\"opa-fig\"><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Henri_Matisse,_Woman_with_a_Hat_(Femme_au_chapeau),_SFMOMA_01.jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/thumb.wikimedia.org\/wikipedia\/commons\/thumb\/d\/df\/Henri_Matisse%2C_Woman_with_a_Hat_%28Femme_au_chapeau%29%2C_SFMOMA_01.jpg\/1920px-Henri_Matisse%2C_Woman_with_a_Hat_%28Femme_au_chapeau%29%2C_SFMOMA_01.jpg?utm_source=commons.wikimedia.org&#038;utm_campaign=imageinfo&#038;utm_content=thumbnail\" alt=\"Henri Matisse, La Femme au chapeau\" loading=\"lazy\"><\/a><figcaption>Henri Matisse, <em>La Femme au chapeau<\/em>, 1905 : le tableau qui fit scandale au Salon d&rsquo;automne <span style=\"opacity:.75\">(<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Henri_Matisse,_Woman_with_a_Hat_(Femme_au_chapeau),_SFMOMA_01.jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>, CC BY-SA 4.0)<\/span><\/figcaption><\/figure>\n<h3>Les racines : Van Gogh, Gauguin, C\u00e9zanne et Signac<\/h3>\n<figure class=\"opa-fig\"><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Henri_Matisse,_1904,_Luxe,_Calme_et_Volupt%C3%A9,_oil_on_canvas,_98.5_%C3%97_118.5_cm,_Mus%C3%A9e_National_d%27Art_Moderne,_Centre_Pompidou_(details).jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/thumb.wikimedia.org\/wikipedia\/commons\/thumb\/3\/33\/Henri_Matisse%2C_1904%2C_Luxe%2C_Calme_et_Volupt%C3%A9%2C_oil_on_canvas%2C_98.5_%C3%97_118.5_cm%2C_Mus%C3%A9e_National_d%27Art_Moderne%2C_Centre_Pompidou_%28details%29.jpg\/1920px-Henri_Matisse%2C_1904%2C_Luxe%2C_Calme_et_Volupt%C3%A9%2C_oil_on_canvas%2C_98.5_%C3%97_118.5_cm%2C_Mus%C3%A9e_National_d%27Art_Moderne%2C_Centre_Pompidou_%28details%29.jpg?utm_source=commons.wikimedia.org&#038;utm_campaign=imageinfo&#038;utm_content=thumbnail\" alt=\"Henri Matisse, Luxe, calme et volupt\u00e9\" loading=\"lazy\"><\/a><figcaption>Henri Matisse, <em>Luxe, calme et volupt\u00e9<\/em>, 1904 : l&rsquo;\u00e9tape divisionniste, peinte apr\u00e8s l&rsquo;\u00e9t\u00e9 pass\u00e9 chez Signac <span style=\"opacity:.75\">(<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Henri_Matisse,_1904,_Luxe,_Calme_et_Volupt%C3%A9,_oil_on_canvas,_98.5_%C3%97_118.5_cm,_Mus%C3%A9e_National_d%27Art_Moderne,_Centre_Pompidou_(details).jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>, Public domain)<\/span><\/figcaption><\/figure>\n<p>Les fauves ne sortent pas de nulle part. Ils ont vu les grandes r\u00e9trospectives de <a href=\"https:\/\/oraziopuglisi.art\/index.php\/vincent-van-gogh\/\">Vincent van Gogh<\/a> (1901) et de <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Paul_Gauguin\" target=\"_blank\" rel=\"noopener\">Paul Gauguin<\/a> (1903 et 1906), dont les aplats de couleur pure les fascinent. Ils admirent la construction de <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Paul_C%C3%A9zanne\" target=\"_blank\" rel=\"noopener\">Paul C\u00e9zanne<\/a>. Surtout, Matisse passe l&rsquo;\u00e9t\u00e9 1904 \u00e0 Saint-Tropez aupr\u00e8s de <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Paul_Signac\" target=\"_blank\" rel=\"noopener\">Paul Signac<\/a>, le th\u00e9oricien du <a href=\"https:\/\/fr.wikipedia.org\/wiki\/n%C3%A9o-impressionnisme\" target=\"_blank\" rel=\"noopener\">N\u00e9o-impressionnisme<\/a> : il en retient la couleur pure, mais rejette bient\u00f4t la petite touche m\u00e9thodique. Beaucoup des futurs fauves se sont rencontr\u00e9s dans l&rsquo;atelier du peintre symboliste <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Gustave_Moreau\" target=\"_blank\" rel=\"noopener\">Gustave Moreau<\/a> \u00e0 l&rsquo;\u00c9cole des beaux-arts, un ma\u00eetre lib\u00e9ral qui disait \u00e0 ses \u00e9l\u00e8ves : \u00ab Plus vous aurez de moyens, plus vous serez simples. \u00bb Voir aussi notre page sur <a href=\"https:\/\/oraziopuglisi.art\/index.php\/le-post-impressionnisme\/\">le post-impressionnisme<\/a>.<\/p>\n<h3>L&rsquo;\u00e9t\u00e9 1905 \u00e0 Collioure<\/h3>\n<figure class=\"opa-fig\"><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Open_Window,_Collioure,_1905_-_Henri_Matisse.jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/e\/e8\/Open_Window%2C_Collioure%2C_1905_-_Henri_Matisse.jpg?utm_source=commons.wikimedia.org&#038;utm_campaign=imageinfo&#038;utm_content=thumbnail_unscaled\" alt=\"Henri Matisse, La Fen\u00eatre ouverte, Collioure\" loading=\"lazy\"><\/a><figcaption>Henri Matisse, <em>La Fen\u00eatre ouverte, Collioure<\/em>, 1905 <span style=\"opacity:.75\">(<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Open_Window,_Collioure,_1905_-_Henri_Matisse.jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>, Public domain)<\/span><\/figcaption><\/figure>\n<p>Tout commence vraiment dans un petit port catalan des Pyr\u00e9n\u00e9es-Orientales. \u00c0 l&rsquo;\u00e9t\u00e9 1905, Matisse et Derain travaillent c\u00f4te \u00e0 c\u00f4te \u00e0 <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Collioure\" target=\"_blank\" rel=\"noopener\">Collioure<\/a>. Sous la lumi\u00e8re m\u00e9diterran\u00e9enne, ils posent des rouges, des verts, des orang\u00e9s et des bleus purs, sortis directement du tube, sans souci de la couleur \u00ab vraie \u00bb des choses : un m\u00e2t peut \u00eatre rose, une ombre verte, la mer orange. Derain \u00e9crit \u00e0 <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Maurice_de_Vlaminck\" target=\"_blank\" rel=\"noopener\">Vlaminck<\/a> que la lumi\u00e8re, l\u00e0-bas, \u00ab tue les ombres \u00bb. Les toiles qu&rsquo;ils rapportent \u00e0 Paris seront celles du Salon d&rsquo;automne.<\/p>\n<h3>Le scandale du Salon d&rsquo;automne<\/h3>\n<figure class=\"opa-fig\"><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:La_Joie_de_vivre,_par_Henri_Matisse.jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/thumb.wikimedia.org\/wikipedia\/commons\/thumb\/b\/b0\/La_Joie_de_vivre%2C_par_Henri_Matisse.jpg\/1920px-La_Joie_de_vivre%2C_par_Henri_Matisse.jpg?utm_source=commons.wikimedia.org&#038;utm_campaign=imageinfo&#038;utm_content=thumbnail\" alt=\"Henri Matisse, Le Bonheur de vivre\" loading=\"lazy\"><\/a><figcaption>Henri Matisse, <em>Le Bonheur de vivre<\/em>, 1905-1906, Fondation Barnes, Philadelphie <span style=\"opacity:.75\">(<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:La_Joie_de_vivre,_par_Henri_Matisse.jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>, Public domain)<\/span><\/figcaption><\/figure>\n<p>Au Salon d&rsquo;automne de 1905, la salle des fauves provoque rires et col\u00e8re. <em>La Femme au chapeau<\/em> de Matisse, portrait de son \u00e9pouse Am\u00e9lie au visage z\u00e9br\u00e9 de vert et de violet, est la cible principale. Pourtant le tableau trouve un acheteur : Leo et Gertrude Stein, qui deviendront les grands collectionneurs de l&rsquo;avant-garde. Le marchand <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Ambroise_Vollard\" target=\"_blank\" rel=\"noopener\">Ambroise Vollard<\/a> ach\u00e8te en bloc l&rsquo;atelier de Derain et l&rsquo;envoie peindre Londres. En 1906, au <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Salon_des_ind%C3%A9pendants\" target=\"_blank\" rel=\"noopener\">Salon des ind\u00e9pendants<\/a>, Matisse expose <em>Le Bonheur de vivre<\/em>, vaste pastorale aux contours ondulants qui marque l&rsquo;apog\u00e9e du mouvement.<\/p>\n<h3>Derain \u00e0 Londres, Vlaminck \u00e0 Chatou<\/h3>\n<figure class=\"opa-fig\"><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Charing_Cross_Bridge_by_Andre_Derain_(52259664204).jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/thumb.wikimedia.org\/wikipedia\/commons\/thumb\/9\/9b\/Charing_Cross_Bridge_by_Andre_Derain_%2852259664204%29.jpg\/1920px-Charing_Cross_Bridge_by_Andre_Derain_%2852259664204%29.jpg?utm_source=commons.wikimedia.org&#038;utm_campaign=imageinfo&#038;utm_content=thumbnail\" alt=\"Andr\u00e9 Derain, Charing Cross Bridge\" loading=\"lazy\"><\/a><figcaption>Andr\u00e9 Derain, <em>Charing Cross Bridge<\/em>, 1906 <span style=\"opacity:.75\">(<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Charing_Cross_Bridge_by_Andre_Derain_(52259664204).jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>, Public domain)<\/span><\/figcaption><\/figure>\n<p>Envoy\u00e9 par Vollard, Derain peint en 1906 une trentaine de vues de la Tamise, du Parlement et de Charing Cross : l\u00e0 o\u00f9 Monet voyait des brumes grises, il pose des jaunes et des bleus \u00e9clatants. Maurice de Vlaminck, autodidacte, coureur cycliste et violoniste, peint \u00e0 <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Chatou\" target=\"_blank\" rel=\"noopener\">Chatou<\/a> les bords de Seine avec une fougue que lui inspire Van Gogh ; il disait vouloir \u00ab br\u00fbler avec ses cobalts l&rsquo;\u00c9cole des beaux-arts \u00bb. Derain et lui partagent un atelier dans une ancienne guinguette, la Maison Fournaise, v\u00e9ritable berceau de l&rsquo;\u00ab \u00e9cole de Chatou \u00bb.<\/p>\n<h3>Les autres fauves<\/h3>\n<figure class=\"opa-fig\"><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:The_Port_of_Saint-Tropez_Albert_Marquet_(1905).jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/7\/79\/The_Port_of_Saint-Tropez_Albert_Marquet_%281905%29.jpg?utm_source=commons.wikimedia.org&#038;utm_campaign=imageinfo&#038;utm_content=thumbnail_unscaled\" alt=\"Albert Marquet\" loading=\"lazy\"><\/a><figcaption>Albert Marquet, <em>Le Port de Saint-Tropez<\/em>, 1905 <span style=\"opacity:.75\">(<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:The_Port_of_Saint-Tropez_Albert_Marquet_(1905).jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>, Public domain)<\/span><\/figcaption><\/figure>\n<p>Autour du trio fondateur gravitent d&rsquo;autres temp\u00e9raments. <a href=\"https:\/\/oraziopuglisi.art\/index.php\/albert-marquet\/\">Albert Marquet<\/a>, ami de Matisse depuis l&rsquo;atelier Moreau, peint des ports et des quais d&rsquo;une sobri\u00e9t\u00e9 lumineuse. <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Raoul_Dufy\" target=\"_blank\" rel=\"noopener\">Raoul Dufy<\/a> et <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Othon_Friesz\" target=\"_blank\" rel=\"noopener\">Othon Friesz<\/a>, venus du <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Havre\" target=\"_blank\" rel=\"noopener\">Havre<\/a>, adoptent la couleur pure en 1905-1906 ; le jeune <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Georges_Braque\" target=\"_blank\" rel=\"noopener\">Georges Braque<\/a> passe lui aussi par une br\u00e8ve et superbe p\u00e9riode fauve \u00e0 L&rsquo;Estaque et \u00e0 La Ciotat. On compte encore <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Henri_Manguin\" target=\"_blank\" rel=\"noopener\">Henri Manguin<\/a>, <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Charles_Camoin\" target=\"_blank\" rel=\"noopener\">Charles Camoin<\/a>, <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Jean_Puy\" target=\"_blank\" rel=\"noopener\">Jean Puy<\/a> et le Hollandais <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Kees_van_Dongen\" target=\"_blank\" rel=\"noopener\">Kees van Dongen<\/a>, peintre des femmes fard\u00e9es de Montmartre.<\/p>\n<h3>Une r\u00e9volution de la couleur<\/h3>\n<figure class=\"opa-fig\"><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Henri_matisse,_andr%C3%A9_derain,_1905_(tate).jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/thumb.wikimedia.org\/wikipedia\/commons\/thumb\/2\/2d\/Henri_matisse%2C_andr%C3%A9_derain%2C_1905_%28tate%29.jpg\/1920px-Henri_matisse%2C_andr%C3%A9_derain%2C_1905_%28tate%29.jpg?utm_source=commons.wikimedia.org&#038;utm_campaign=imageinfo&#038;utm_content=thumbnail\" alt=\"Henri Matisse, Portrait d'Andr\u00e9 Derain\" loading=\"lazy\"><\/a><figcaption>Henri Matisse, <em>Portrait d&rsquo;Andr\u00e9 Derain<\/em>, 1905, Tate, Londres <span style=\"opacity:.75\">(<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Henri_matisse,_andr%C3%A9_derain,_1905_(tate).jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>, Public domain)<\/span><\/figcaption><\/figure>\n<p>Le fauvisme n&rsquo;a ni manifeste ni programme. Ses principes tiennent en quelques gestes : couleur pure pos\u00e9e en larges aplats, refus du model\u00e9 et de la perspective classique, contours \u00e9pais, simplification des formes, primaut\u00e9 de l&rsquo;\u00e9motion sur l&rsquo;imitation. Matisse r\u00e9sume l&rsquo;id\u00e9al dans ses <em>Notes d&rsquo;un peintre<\/em> (1908) : il r\u00eave d&rsquo;\u00ab un art d&rsquo;\u00e9quilibre, de puret\u00e9, de tranquillit\u00e9 \u00bb, qui soit \u00ab comme un bon fauteuil \u00bb pour l&rsquo;esprit fatigu\u00e9. La couleur n&rsquo;a plus \u00e0 \u00eatre vraie : elle doit \u00eatre juste.<\/p>\n<h3>La fin du mouvement et son h\u00e9ritage<\/h3>\n<figure class=\"opa-fig\"><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Street_Decked_with_Flags_by_Raoul_Dufy_(1906).jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/thumb.wikimedia.org\/wikipedia\/commons\/thumb\/a\/ad\/Street_Decked_with_Flags_by_Raoul_Dufy_%281906%29.jpg\/1920px-Street_Decked_with_Flags_by_Raoul_Dufy_%281906%29.jpg?utm_source=commons.wikimedia.org&#038;utm_campaign=imageinfo&#038;utm_content=thumbnail\" alt=\"Raoul Dufy\" loading=\"lazy\"><\/a><figcaption>Raoul Dufy, <em>Rue pavois\u00e9e<\/em>, 1906 <span style=\"opacity:.75\">(<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Street_Decked_with_Flags_by_Raoul_Dufy_(1906).jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>, Public domain)<\/span><\/figcaption><\/figure>\n<p>D\u00e8s 1907-1908, le groupe se disperse. Braque et Derain se tournent vers C\u00e9zanne et la construction ; Braque rejoint Picasso pour inventer le <a href=\"https:\/\/fr.wikipedia.org\/wiki\/cubisme\" target=\"_blank\" rel=\"noopener\">Cubisme<\/a> (voir notre page sur <a href=\"https:\/\/oraziopuglisi.art\/index.php\/le-cubisme\/\">le cubisme<\/a>). Dufy \u00e9volue vers le style l\u00e9ger et graphique qu&rsquo;on lui conna\u00eet. Matisse seul poursuivra toute sa vie la qu\u00eate de la couleur, jusqu&rsquo;aux papiers d\u00e9coup\u00e9s des ann\u00e9es 1950. Mais l&rsquo;onde de choc est immense : en Allemagne, les peintres de <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Die_Br%C3%BCcke\" target=\"_blank\" rel=\"noopener\">Die Br\u00fccke<\/a> \u00e0 Dresde puis du <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Blaue_Reiter\" target=\"_blank\" rel=\"noopener\">Der Blaue Reiter<\/a> \u00e0 Munich reprennent la couleur arbitraire des fauves pour fonder l&rsquo;<a href=\"https:\/\/fr.wikipedia.org\/wiki\/expressionnisme\" target=\"_blank\" rel=\"noopener\">Expressionnisme<\/a> (voir <a href=\"https:\/\/oraziopuglisi.art\/index.php\/l-expressionnisme\/\">l&rsquo;expressionnisme<\/a>). Kandinsky, \u00e0 Murnau, peint en fauve avant de passer \u00e0 l&rsquo;abstraction.<\/p>\n<h3>Les grands artistes<\/h3>\n<ul class=\"opa-chrono\">\n<li><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Henri_Matisse\" target=\"_blank\" rel=\"noopener\">Henri Matisse<\/a> (1869-1954), le \u00ab roi des fauves \u00bb<\/li>\n<li><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Andr%C3%A9_Derain\" target=\"_blank\" rel=\"noopener\">Andr\u00e9 Derain<\/a> (1880-1954)<\/li>\n<li><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Maurice_de_Vlaminck\" target=\"_blank\" rel=\"noopener\">Maurice de Vlaminck<\/a> (1876-1958)<\/li>\n<li><a href=\"https:\/\/oraziopuglisi.art\/index.php\/albert-marquet\/\">Albert Marquet<\/a> (1875-1947)<\/li>\n<li><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Raoul_Dufy\" target=\"_blank\" rel=\"noopener\">Raoul Dufy<\/a> (1877-1953)<\/li>\n<li><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Othon_Friesz\" target=\"_blank\" rel=\"noopener\">Othon Friesz<\/a> (1879-1949)<\/li>\n<li><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Georges_Braque\" target=\"_blank\" rel=\"noopener\">Georges Braque<\/a> (1882-1963), p\u00e9riode fauve 1905-1907<\/li>\n<li><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Kees_van_Dongen\" target=\"_blank\" rel=\"noopener\">Kees van Dongen<\/a> (1877-1968)<\/li>\n<li><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Henri_Manguin\" target=\"_blank\" rel=\"noopener\">Henri Manguin<\/a> (1874-1949)<\/li>\n<li><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Charles_Camoin\" target=\"_blank\" rel=\"noopener\">Charles Camoin<\/a> (1879-1965)<\/li>\n<li><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Jean_Puy\" target=\"_blank\" rel=\"noopener\">Jean Puy<\/a> (1876-1960)<\/li>\n<li><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Louis_Valtat\" target=\"_blank\" rel=\"noopener\">Louis Valtat<\/a> (1869-1952), pr\u00e9curseur<\/li>\n<\/ul>\n<h3>Chronologie<\/h3>\n<ul class=\"opa-chrono\">\n<li><strong>1892-1898<\/strong> \u2014 Matisse, Marquet, Manguin, Camoin, Rouault dans l&rsquo;atelier de Gustave Moreau<\/li>\n<li><strong>1901<\/strong> \u2014 R\u00e9trospective Van Gogh chez Bernheim-Jeune : rencontre de Derain et Vlaminck, pr\u00e9sent\u00e9s par Derain \u00e0 Matisse<\/li>\n<li><strong>1904<\/strong> \u2014 \u00c9t\u00e9 de Matisse chez Signac \u00e0 Saint-Tropez ; <em>Luxe, calme et volupt\u00e9<\/em><\/li>\n<li><strong>1905<\/strong> \u2014 \u00c9t\u00e9 \u00e0 Collioure (Matisse, Derain) ; Salon d&rsquo;automne, salle VII : naissance du mot \u00ab fauves \u00bb<\/li>\n<li><strong>1906<\/strong> \u2014 <em>Le Bonheur de vivre<\/em> au Salon des ind\u00e9pendants ; Derain peint Londres ; Braque, Dufy et Friesz rejoignent le mouvement<\/li>\n<li><strong>1907<\/strong> \u2014 R\u00e9trospective C\u00e9zanne ; Picasso peint <em>Les Demoiselles d&rsquo;Avignon<\/em> ; dispersion du groupe<\/li>\n<li><strong>1908<\/strong> \u2014 Matisse publie ses <em>Notes d&rsquo;un peintre<\/em> ; Braque et le cubisme<\/li>\n<li><strong>1909-1911<\/strong> \u2014 Kandinsky et M\u00fcnter \u00e0 Murnau, Die Br\u00fccke \u00e0 Dresde : le fauvisme essaime en Allemagne<\/li>\n<\/ul>\n<h3>Galerie<\/h3>\n<div class=\"opa-gal\">\n<figure><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Andr%C3%A9_Derain_-_Bateaux_au_port_de_Collioure.jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/thumb.wikimedia.org\/wikipedia\/commons\/thumb\/5\/53\/Andr%C3%A9_Derain_-_Bateaux_au_port_de_Collioure.jpg\/1920px-Andr%C3%A9_Derain_-_Bateaux_au_port_de_Collioure.jpg?utm_source=commons.wikimedia.org&#038;utm_campaign=imageinfo&#038;utm_content=thumbnail\" alt=\"Andr\u00e9 Derain, Collioure\" loading=\"lazy\"><\/a><figcaption>Andr\u00e9 Derain, <em>Bateaux au port de Collioure<\/em>, 1905 <span style=\"opacity:.75\">(<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Andr%C3%A9_Derain_-_Bateaux_au_port_de_Collioure.jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>, Public domain)<\/span><\/figcaption><\/figure>\n<figure><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Andr%C3%A9_derain,_ritratto_di_henri_matisse,_1905_(tate_modern)_01.jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/thumb.wikimedia.org\/wikipedia\/commons\/thumb\/d\/df\/Andr%C3%A9_derain%2C_ritratto_di_henri_matisse%2C_1905_%28tate_modern%29_01.jpg\/1920px-Andr%C3%A9_derain%2C_ritratto_di_henri_matisse%2C_1905_%28tate_modern%29_01.jpg?utm_source=commons.wikimedia.org&#038;utm_campaign=imageinfo&#038;utm_content=thumbnail\" alt=\"Henri Matisse, Collioure\" loading=\"lazy\"><\/a><figcaption>Andr\u00e9 Derain, <em>Portrait d&rsquo;Henri Matisse<\/em>, 1905, Tate, Londres <span style=\"opacity:.75\">(<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Andr%C3%A9_derain,_ritratto_di_henri_matisse,_1905_(tate_modern)_01.jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>, Public domain)<\/span><\/figcaption><\/figure>\n<figure><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Bemberg_Fondation_Toulouse_-_Le_Golfe_-_Henri_Manguin.jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/thumb.wikimedia.org\/wikipedia\/commons\/thumb\/3\/3e\/Bemberg_Fondation_Toulouse_-_Le_Golfe_-_Henri_Manguin.jpg\/1920px-Bemberg_Fondation_Toulouse_-_Le_Golfe_-_Henri_Manguin.jpg?utm_source=commons.wikimedia.org&#038;utm_campaign=imageinfo&#038;utm_content=thumbnail\" alt=\"Henri Manguin\" loading=\"lazy\"><\/a><figcaption>Henri Manguin, <em>Le Golfe<\/em> <span style=\"opacity:.75\">(<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Bemberg_Fondation_Toulouse_-_Le_Golfe_-_Henri_Manguin.jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>, Public domain)<\/span><\/figcaption><\/figure>\n<figure><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:(Albi)_Un_dimanche_%C3%A0_Honfleur_(1907)_Othon_Friesz_MTL.197.jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/thumb.wikimedia.org\/wikipedia\/commons\/thumb\/c\/ca\/%28Albi%29_Un_dimanche_%C3%A0_Honfleur_%281907%29_Othon_Friesz_MTL.197.jpg\/1920px-%28Albi%29_Un_dimanche_%C3%A0_Honfleur_%281907%29_Othon_Friesz_MTL.197.jpg?utm_source=commons.wikimedia.org&#038;utm_campaign=imageinfo&#038;utm_content=thumbnail\" alt=\"Othon Friesz\" loading=\"lazy\"><\/a><figcaption>Othon Friesz, <em>Un dimanche \u00e0 Honfleur<\/em>, 1907 <span style=\"opacity:.75\">(<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:(Albi)_Un_dimanche_%C3%A0_Honfleur_(1907)_Othon_Friesz_MTL.197.jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>, Public domain)<\/span><\/figcaption><\/figure>\n<figure><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Albert-Marquet,_le_port,_1905_-_Saint-Tropez,_mus%C3%A9e_de_l%27Annonciade.jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/thumb.wikimedia.org\/wikipedia\/commons\/thumb\/3\/3a\/Albert-Marquet%2C_le_port%2C_1905_-_Saint-Tropez%2C_mus%C3%A9e_de_l%27Annonciade.jpg\/1920px-Albert-Marquet%2C_le_port%2C_1905_-_Saint-Tropez%2C_mus%C3%A9e_de_l%27Annonciade.jpg?utm_source=commons.wikimedia.org&#038;utm_campaign=imageinfo&#038;utm_content=thumbnail\" alt=\"Albert Marquet\" loading=\"lazy\"><\/a><figcaption>Albert Marquet, <em>Le Port<\/em>, Saint-Tropez, 1905 <span style=\"opacity:.75\">(<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Albert-Marquet,_le_port,_1905_-_Saint-Tropez,_mus%C3%A9e_de_l%27Annonciade.jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>, CC BY 4.0)<\/span><\/figcaption><\/figure>\n<figure><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:The_Port_of_Le_Havre_Raoul_Dufy_(1906).jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/4\/45\/The_Port_of_Le_Havre_Raoul_Dufy_%281906%29.jpg?utm_source=commons.wikimedia.org&#038;utm_campaign=imageinfo&#038;utm_content=thumbnail_unscaled\" alt=\"Raoul Dufy\" loading=\"lazy\"><\/a><figcaption>Raoul Dufy, <em>Le Port du Havre<\/em>, 1906 <span style=\"opacity:.75\">(<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:The_Port_of_Le_Havre_Raoul_Dufy_(1906).jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>, Public domain)<\/span><\/figcaption><\/figure>\n<figure><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Henri_Matisse,_sketch_fo_The_Joy_of_Life_(Le_Bonneur_de_vivre),_SFMOMA_03.jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/thumb.wikimedia.org\/wikipedia\/commons\/thumb\/3\/3c\/Henri_Matisse%2C_sketch_fo_The_Joy_of_Life_%28Le_Bonneur_de_vivre%29%2C_SFMOMA_03.jpg\/1920px-Henri_Matisse%2C_sketch_fo_The_Joy_of_Life_%28Le_Bonneur_de_vivre%29%2C_SFMOMA_03.jpg?utm_source=commons.wikimedia.org&#038;utm_campaign=imageinfo&#038;utm_content=thumbnail\" alt=\"Henri Matisse\" loading=\"lazy\"><\/a><figcaption>Henri Matisse, esquisse pour <em>Le Bonheur de vivre<\/em>, 1905-1906 <span style=\"opacity:.75\">(<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Henri_Matisse,_sketch_fo_The_Joy_of_Life_(Le_Bonneur_de_vivre),_SFMOMA_03.jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a>, CC BY-SA 4.0)<\/span><\/figcaption><\/figure>\n<\/div>\n<h3>\u00c0 voir<\/h3>\n<ul class=\"opa-dl\">\n<li><a href=\"https:\/\/www.youtube.com\/results?search_query=fauvisme+peinture+explication\" target=\"_blank\" rel=\"noopener\">Le fauvisme expliqu\u00e9<\/a> (vid\u00e9os YouTube)<\/li>\n<li><a href=\"https:\/\/www.youtube.com\/results?search_query=Henri+Matisse+documentaire\" target=\"_blank\" rel=\"noopener\">Henri Matisse, la couleur lib\u00e9r\u00e9e<\/a> (vid\u00e9os YouTube)<\/li>\n<li><a href=\"https:\/\/www.youtube.com\/results?search_query=Andr%C3%A9+Derain+Collioure+fauvisme\" target=\"_blank\" rel=\"noopener\">Andr\u00e9 Derain \u00e0 Collioure<\/a> (vid\u00e9os YouTube)<\/li>\n<li><a href=\"https:\/\/www.youtube.com\/results?search_query=Collioure+fauvisme+Matisse+Derain+chemin+du+fauvisme\" target=\"_blank\" rel=\"noopener\">Collioure, le village des peintres<\/a> (vid\u00e9os YouTube)<\/li>\n<\/ul>\n<h3>\u00c0 t\u00e9l\u00e9charger (livres du domaine public, PDF)<\/h3>\n<ul class=\"opa-dl\">\n<li><a href=\"https:\/\/archive.org\/download\/frick-31072002257006\/31072002257006.pdf\" target=\"_blank\" rel=\"noopener\">T\u00e9l\u00e9charger le PDF<\/a> \u2014 <em>Henri Matisse exhibition<\/em>, catalogue de l&rsquo;exposition de 1915 \u00e0 New York (Montross Gallery) (<a href=\"https:\/\/archive.org\/details\/frick-31072002257006\" target=\"_blank\" rel=\"noopener\">lire en ligne<\/a>)<\/li>\n<li><a href=\"https:\/\/archive.org\/download\/andrderainavec3200carr\/andrderainavec3200carr.pdf\" target=\"_blank\" rel=\"noopener\">T\u00e9l\u00e9charger le PDF<\/a> \u2014 Francis Carco, <em>Andr\u00e9 Derain<\/em>, avec 32 reproductions, 1921 (<a href=\"https:\/\/archive.org\/details\/andrderainavec3200carr\" target=\"_blank\" rel=\"noopener\">lire en ligne<\/a>)<\/li>\n<li><a href=\"https:\/\/archive.org\/download\/SinceCezanne\/SinceCezanne.pdf\" target=\"_blank\" rel=\"noopener\">T\u00e9l\u00e9charger le PDF<\/a> \u2014 Clive Bell, <em>Since C\u00e9zanne<\/em>, 1922 (en anglais), sur Matisse, Derain et l&rsquo;art nouveau (<a href=\"https:\/\/archive.org\/details\/SinceCezanne\" target=\"_blank\" rel=\"noopener\">lire en ligne<\/a>)<\/li>\n<\/ul>\n<h3>Pour aller plus loin en ligne<\/h3>\n<ul class=\"opa-dl\">\n<li><a href=\"https:\/\/www.metmuseum.org\/toah\/hd\/fauv\/hd_fauv.htm\" target=\"_blank\" rel=\"noopener\">Le Fauvisme, Metropolitan Museum of Art (Heilbrunn Timeline, en anglais)<\/a><\/li>\n<li><a href=\"https:\/\/www.tate.org.uk\/art\/art-terms\/f\/fauvism\" target=\"_blank\" rel=\"noopener\">Fauvism, Tate (en anglais)<\/a><\/li>\n<li><a href=\"https:\/\/www.collioure.com\" target=\"_blank\" rel=\"noopener\">Le Chemin du fauvisme \u00e0 Collioure<\/a><\/li>\n<li><a href=\"https:\/\/www.musee-matisse-nice.org\" target=\"_blank\" rel=\"noopener\">Mus\u00e9e Matisse, Nice<\/a><\/li>\n<\/ul>\n<h3>Pour aller plus loin<\/h3>\n<ul class=\"opa-biblio\">\n<li>Georges Duthuit, <em>Les Fauves<\/em>, Gen\u00e8ve, 1949.<\/li>\n<li>Jean-Louis Ferrier, <em>Les Fauves. Le r\u00e8gne de la couleur<\/em>, Terrail, 1992.<\/li>\n<li>Marcel Giry, <em>Le Fauvisme, ses origines, son \u00e9volution<\/em>, Ides et Calendes, 1981.<\/li>\n<li>Henri Matisse, <em>\u00c9crits et propos sur l&rsquo;art<\/em>, Hermann, 1972.<\/li>\n<li>Voir aussi <a href=\"https:\/\/oraziopuglisi.art\/index.php\/chronologie-des-mouvements-artistiques\/\">Chronologie des mouvements artistiques<\/a>, <a href=\"https:\/\/oraziopuglisi.art\/index.php\/le-post-impressionnisme\/\">Le post-impressionnisme<\/a>, <a href=\"https:\/\/oraziopuglisi.art\/index.php\/le-symbolisme\/\">Le symbolisme<\/a> et <a href=\"https:\/\/oraziopuglisi.art\/index.php\/les-arts\/\">Les Arts<\/a>.<\/li>\n<\/ul>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Image d&rsquo;en-t\u00eate : Andr\u00e9 Derain, Le Port de Collioure, 1905 (Wikimedia Commons, Public domain) Soutenir mon travail \u00b7 Tout lire sans limite \u00b7 Mes livres Le Fauvisme (1905-1910) : la couleur lib\u00e9r\u00e9e \u00c0 l&rsquo;automne 1905, dans la salle VII du Salon d&rsquo;automne \u00e0 Paris, le public d\u00e9couvre des toiles aux couleurs si violentes qu&rsquo;il croit [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":32188,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-32189","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Le Fauvisme (1905-1910) : la couleur lib\u00e9r\u00e9e - Orazio Puglisi<\/title>\n<meta name=\"description\" content=\"\u00c0 l&#039;automne 1905, dans la salle VII du Salon d&#039;automne \u00e0 Paris, le public d\u00e9couvre des toiles aux couleurs si violentes qu&#039;il croit \u00e0 une provocation. Au\u2026\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/oraziopuglisi.art\/index.php\/le-fauvisme\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le Fauvisme (1905-1910) : la couleur lib\u00e9r\u00e9e - Orazio Puglisi\" \/>\n<meta property=\"og:description\" content=\"\u00c0 l&#039;automne 1905, dans la salle VII du Salon d&#039;automne \u00e0 Paris, le public d\u00e9couvre des toiles aux couleurs si violentes qu&#039;il croit \u00e0 une provocation. Au\u2026\" \/>\n<meta property=\"og:url\" content=\"https:\/\/oraziopuglisi.art\/index.php\/le-fauvisme\/\" \/>\n<meta property=\"og:site_name\" content=\"Orazio Puglisi\" \/>\n<meta property=\"article:modified_time\" content=\"2026-11-04T13:22:29+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/oraziopuglisi.art\/wp-content\/uploads\/2026\/11\/derain-port-de-collioure-1905.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1920\" \/>\n\t<meta property=\"og:image:height\" content=\"1600\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data1\" content=\"7 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/oraziopuglisi.art\\\/index.php\\\/le-fauvisme\\\/\",\"url\":\"https:\\\/\\\/oraziopuglisi.art\\\/index.php\\\/le-fauvisme\\\/\",\"name\":\"Le Fauvisme (1905-1910) : la couleur lib\u00e9r\u00e9e - Orazio Puglisi\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/oraziopuglisi.art\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/oraziopuglisi.art\\\/index.php\\\/le-fauvisme\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/oraziopuglisi.art\\\/index.php\\\/le-fauvisme\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/oraziopuglisi.art\\\/wp-content\\\/uploads\\\/2026\\\/11\\\/derain-port-de-collioure-1905.jpg\",\"datePublished\":\"2026-11-04T13:13:07+00:00\",\"dateModified\":\"2026-11-04T13:22:29+00:00\",\"description\":\"\u00c0 l'automne 1905, dans la salle VII du Salon d'automne \u00e0 Paris, le public d\u00e9couvre des toiles aux couleurs si violentes qu'il croit \u00e0 une provocation. Au\u2026\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/oraziopuglisi.art\\\/index.php\\\/le-fauvisme\\\/#breadcrumb\"},\"inLanguage\":\"fr-FR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/oraziopuglisi.art\\\/index.php\\\/le-fauvisme\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"fr-FR\",\"@id\":\"https:\\\/\\\/oraziopuglisi.art\\\/index.php\\\/le-fauvisme\\\/#primaryimage\",\"url\":\"https:\\\/\\\/oraziopuglisi.art\\\/wp-content\\\/uploads\\\/2026\\\/11\\\/derain-port-de-collioure-1905.jpg\",\"contentUrl\":\"https:\\\/\\\/oraziopuglisi.art\\\/wp-content\\\/uploads\\\/2026\\\/11\\\/derain-port-de-collioure-1905.jpg\",\"width\":1920,\"height\":1600,\"caption\":\"Andr\u00e9 Derain, Le Port de Collioure, 1905\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/oraziopuglisi.art\\\/index.php\\\/le-fauvisme\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Accueil\",\"item\":\"https:\\\/\\\/oraziopuglisi.art\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Le Fauvisme\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/oraziopuglisi.art\\\/#website\",\"url\":\"https:\\\/\\\/oraziopuglisi.art\\\/\",\"name\":\"Oraziopuglisi.art\",\"description\":\"Le beau ! Quoi d&#039;autre ?\",\"publisher\":{\"@id\":\"https:\\\/\\\/oraziopuglisi.art\\\/#\\\/schema\\\/person\\\/25fc9286c60d24f18b651edcc5903c4c\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/oraziopuglisi.art\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"fr-FR\"},{\"@type\":[\"Person\",\"Organization\"],\"@id\":\"https:\\\/\\\/oraziopuglisi.art\\\/#\\\/schema\\\/person\\\/25fc9286c60d24f18b651edcc5903c4c\",\"name\":\"Orazio Puglisi\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"fr-FR\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/b6db1b0cfae43195d5bb3bc41143b8ea702115830550a54531b37cf0fb97e1f6?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/b6db1b0cfae43195d5bb3bc41143b8ea702115830550a54531b37cf0fb97e1f6?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/b6db1b0cfae43195d5bb3bc41143b8ea702115830550a54531b37cf0fb97e1f6?s=96&d=mm&r=g\",\"caption\":\"Orazio Puglisi\"},\"logo\":{\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/b6db1b0cfae43195d5bb3bc41143b8ea702115830550a54531b37cf0fb97e1f6?s=96&d=mm&r=g\"},\"sameAs\":[\"http:\\\/\\\/oraziopuglisi.art\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Le Fauvisme (1905-1910) : la couleur lib\u00e9r\u00e9e - Orazio Puglisi","description":"\u00c0 l'automne 1905, dans la salle VII du Salon d'automne \u00e0 Paris, le public d\u00e9couvre des toiles aux couleurs si violentes qu'il croit \u00e0 une provocation. Au\u2026","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/oraziopuglisi.art\/index.php\/le-fauvisme\/","og_locale":"fr_FR","og_type":"article","og_title":"Le Fauvisme (1905-1910) : la couleur lib\u00e9r\u00e9e - Orazio Puglisi","og_description":"\u00c0 l'automne 1905, dans la salle VII du Salon d'automne \u00e0 Paris, le public d\u00e9couvre des toiles aux couleurs si violentes qu'il croit \u00e0 une provocation. Au\u2026","og_url":"https:\/\/oraziopuglisi.art\/index.php\/le-fauvisme\/","og_site_name":"Orazio Puglisi","article_modified_time":"2026-11-04T13:22:29+00:00","og_image":[{"width":1920,"height":1600,"url":"https:\/\/oraziopuglisi.art\/wp-content\/uploads\/2026\/11\/derain-port-de-collioure-1905.jpg","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_misc":{"Dur\u00e9e de lecture estim\u00e9e":"7 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/oraziopuglisi.art\/index.php\/le-fauvisme\/","url":"https:\/\/oraziopuglisi.art\/index.php\/le-fauvisme\/","name":"Le Fauvisme (1905-1910) : la couleur lib\u00e9r\u00e9e - Orazio Puglisi","isPartOf":{"@id":"https:\/\/oraziopuglisi.art\/#website"},"primaryImageOfPage":{"@id":"https:\/\/oraziopuglisi.art\/index.php\/le-fauvisme\/#primaryimage"},"image":{"@id":"https:\/\/oraziopuglisi.art\/index.php\/le-fauvisme\/#primaryimage"},"thumbnailUrl":"https:\/\/oraziopuglisi.art\/wp-content\/uploads\/2026\/11\/derain-port-de-collioure-1905.jpg","datePublished":"2026-11-04T13:13:07+00:00","dateModified":"2026-11-04T13:22:29+00:00","description":"\u00c0 l'automne 1905, dans la salle VII du Salon d'automne \u00e0 Paris, le public d\u00e9couvre des toiles aux couleurs si violentes qu'il croit \u00e0 une provocation. Au\u2026","breadcrumb":{"@id":"https:\/\/oraziopuglisi.art\/index.php\/le-fauvisme\/#breadcrumb"},"inLanguage":"fr-FR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/oraziopuglisi.art\/index.php\/le-fauvisme\/"]}]},{"@type":"ImageObject","inLanguage":"fr-FR","@id":"https:\/\/oraziopuglisi.art\/index.php\/le-fauvisme\/#primaryimage","url":"https:\/\/oraziopuglisi.art\/wp-content\/uploads\/2026\/11\/derain-port-de-collioure-1905.jpg","contentUrl":"https:\/\/oraziopuglisi.art\/wp-content\/uploads\/2026\/11\/derain-port-de-collioure-1905.jpg","width":1920,"height":1600,"caption":"Andr\u00e9 Derain, Le Port de Collioure, 1905"},{"@type":"BreadcrumbList","@id":"https:\/\/oraziopuglisi.art\/index.php\/le-fauvisme\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Accueil","item":"https:\/\/oraziopuglisi.art\/"},{"@type":"ListItem","position":2,"name":"Le Fauvisme"}]},{"@type":"WebSite","@id":"https:\/\/oraziopuglisi.art\/#website","url":"https:\/\/oraziopuglisi.art\/","name":"Oraziopuglisi.art","description":"Le beau ! Quoi d&#039;autre ?","publisher":{"@id":"https:\/\/oraziopuglisi.art\/#\/schema\/person\/25fc9286c60d24f18b651edcc5903c4c"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/oraziopuglisi.art\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"fr-FR"},{"@type":["Person","Organization"],"@id":"https:\/\/oraziopuglisi.art\/#\/schema\/person\/25fc9286c60d24f18b651edcc5903c4c","name":"Orazio Puglisi","image":{"@type":"ImageObject","inLanguage":"fr-FR","@id":"https:\/\/secure.gravatar.com\/avatar\/b6db1b0cfae43195d5bb3bc41143b8ea702115830550a54531b37cf0fb97e1f6?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/b6db1b0cfae43195d5bb3bc41143b8ea702115830550a54531b37cf0fb97e1f6?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/b6db1b0cfae43195d5bb3bc41143b8ea702115830550a54531b37cf0fb97e1f6?s=96&d=mm&r=g","caption":"Orazio Puglisi"},"logo":{"@id":"https:\/\/secure.gravatar.com\/avatar\/b6db1b0cfae43195d5bb3bc41143b8ea702115830550a54531b37cf0fb97e1f6?s=96&d=mm&r=g"},"sameAs":["http:\/\/oraziopuglisi.art"]}]}},"_links":{"self":[{"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/pages\/32189","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/comments?post=32189"}],"version-history":[{"count":2,"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/pages\/32189\/revisions"}],"predecessor-version":[{"id":32201,"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/pages\/32189\/revisions\/32201"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/media\/32188"}],"wp:attachment":[{"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/media?parent=32189"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}