Compare Cubism and Fauvism
The Fauve movement in French painting emerged around 1905 and peaked around 1908. Fauvism rejects Impressionism's use of muted pastels in favour of bright, clashing colours and haphazard brushwork. Even though many abstract paintings by the Fauvists can be interpreted as depicting human subjects, this is not the case with all of them. The French artist Henri Matisse is credited as the progenitor of the Fauvist style.
Between 1907 and 1914, in France, a new art movement called cubism emerged. Cubist artworks are characterised by the use of multiple intersecting geometric planes to create a disjointed arrangement that conveys the subject from all possible perspectives. Pablo Picasso and Georges Braque used form and composition to move cubism through its three stages: proto-cubism, analytical cubism, and synthetic cubism.
Cubism and fauvism share many similarities but also have significant distinctions. The rough brushwork, the flat aspect, and the use of Post-Impressionism as inspiration are the three key ties between Cubism and Fauvism.
The use of artificial colours, the simplicity of the objects, and the upbeat subject matter distinguish Fauvism from Cubism.
The artists who took part in the development of both Cubism and Fauvism shared many characteristics. The rough brushwork, the flat aspect, and the use of Post-Impressionism as inspiration are the three key ties between Cubism and Fauvism.
Artists of the Cubist and Fauvist movements broke away from conventional representational painting practises by employing gestural, textured, fragmented, and constructive brushstrokes.
The Fauvist and Cubist painters were able to create more intellectually and artistically complex works because of their free brushstrokes. By applying colour and value to opaque layers in quick, sketch-like strokes, cubists could piece together images that had been cut apart. Fauvism relied heavily on textured brushstrokes, which were especially important when used in conjunction with bold, complimentary colours.
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