{"id":"fauvism","no":419,"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":["音楽祭や催しの告知を、写真を使わず色の強さだけで立てるとき","屋外の壁面や幕を、遠くからでも高揚が伝わる色で塗るとき"],"recipe":{"type":"文字も筆で置き、作図的な形にせず、地の色と補色の関係で読ませる","layout":"輪郭線を引かず、色の境目だけで形を決め、地を塗り残す","material":"朱、ビリジャン、コバルトの純色を混ぜずに厚く置く"},"avoid":"強い色を全面に敷き詰めると、隣り合いによる振動が起きず、ただ騒がしい面になる。塗り残しの白地を必ず確保する。","colors":["#efd2c5","#a0241f","#343b3e"],"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":["Announcing a festival or event with no photography, letting saturated colour carry it","Painting outdoor walls or banners so the lift of the colour carries from a distance"],"recipe":{"type":"Brush lettered forms, nothing geometric, read by complementary against the ground","layout":"No drawn contour, form set only where colours meet, bare ground left breathing","material":"Unmixed saturated pigment, vermilion, viridian and cobalt, laid thick on untouched white"},"avoid":"Covering the whole surface with strong colour stops the vibration between neighbours and leaves noise. Always keep the bare white ground that lets the clash register.","study":["The 'wild beasts' review at the 1905 Salon d'Automne","The relationship between colour and emotion","The development toward decorative flatness"]},"links":{"page":"https://indexstyle.org/styles/fauvism","json":"https://indexstyle.org/api/styles/fauvism","designSpec":"https://indexstyle.org/styles/fauvism/design.md","imagePrompt":"https://indexstyle.org/styles/fauvism/prompt.txt"},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}