{"id":"fauvism","no":460,"name":"Fauvism","ja":"フォーヴィスム","era":"1904–1908","family":"前衛","kind":"スタイル","collection":"Dictionary expansion 23","addedAt":"2026-08-18","source":{"title":"Tate — Art Terms: Fauvism","url":"https://www.tate.org.uk/art/art-terms/f/fauvism"},"reference":{"status":"verified","pageUrl":"https://www.tate.org.uk/art/art-terms/f/fauvism","credit":"Tate — Art Terms: Fauvism","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Open%20Window%2C%20Collioure%2C%201905%20-%20Henri%20Matisse.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Open%20Window%2C%20Collioure%2C%201905%20-%20Henri%20Matisse.jpg","credit":"Henri Matisse《開いた窓、コリウール》1905 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Henri%20Matisse%20-%20Landscape%20at%20Collioure%20-%201905.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Henri%20Matisse%20-%20Landscape%20at%20Collioure%20-%201905.jpg","credit":"Henri Matisse《コリウールの風景》1905 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Andr%C3%A9%20Derain%2C%20par%20Henri%20Matisse.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Andr%C3%A9%20Derain%2C%20par%20Henri%20Matisse.jpg","credit":"Henri Matisse《アンドレ・ドラン》1905 — Wikimedia Commons / Public domain"}]},"essence":"色を対象の再現から切り離し、純色を平坦な面として叩きつけた短命な運動。輪郭は筆致そのものが担い、補色の隣接が画面を振動させる。色彩を情動の装置として使う以降のすべての設計の起点になった。","cues":["チューブから出したままの純色","補色の直接隣接","塗り残しの白地","荒い筆致が輪郭を兼ねる"],"intents":["高揚"],"works":["一次資料と代表作から成立条件を比較する","別媒体へ応用できる構成原理を取り出す"],"recipe":{"type":"参照作品の文字・記号・スケールを観察する","layout":"視線と情報を支配する構造を一つ抽出する","material":"時代・地域・制作工程に固有の素材と挙動を確認する"},"avoid":"表面的な記号へ還元せず、時代・地域・技術・制作主体の文脈を確認する。","colors":["#e9e6dd","#67635d","#171615"],"motif":"graphic","pair":["expressionism","cloisonnism"],"study":["1905年サロン・ドートンヌの「野獣」評","色彩と情動の関係","装飾平面への展開"],"en":{"essence":"A short-lived movement that severed colour from the depiction of its subject, slamming pure hues onto the canvas as flat planes. The brushstroke itself carries the contour, and adjacent complementaries make the surface vibrate. It became the starting point for every later design that uses colour as a device of emotion.","cues":["Pure colour straight from the tube","Complementaries set directly side by side","Bare white ground left unpainted","Rough brushstrokes doubling as contours"],"works":["Posters and covers where saturated colour carries the whole message","Campaign visuals that need raw, immediate emotional heat"],"recipe":{"type":"Loose, brush-lettered display forms; nothing engineered or geometric","layout":"Flat planes of colour locked edge to edge, with bare ground breathing between strokes","material":"Unmixed saturated pigment—vermilion, viridian, cobalt—against untouched white"},"avoid":"Avoid taming the palette or smoothing the strokes; once the colour stops clashing and vibrating, Fauvism collapses into pleasant decoration.","study":["The 'wild beasts' review at the 1905 Salon d'Automne","The relationship between colour and emotion","The development toward decorative flatness"]}}