In press reviews for this exhibition it is presumed that 'Fauvism' is a term so familiar it need not be explained. Part of every high school curriculum where art history is taught, most people at all interested in the visual arts could probably tell you Fauvism was an early twentieth century art movement typified by paintings in bright clashing colours.  Further pressed to name a Fauvist, some may name Matisse although this artist is now more closely identified with his work of a much later period and examples by Maurice Vlamnick are cited more frequently by teachers as quintessentially Fauvist.
It was the Salon d’ Automne exhibition of 1905 that stupefied Paris with works by Matisse and Derain, among others. Most famously, Matisse painted 'Green Strip' a portrait of his wife with a bright green nose. For being so apparently wild the art critic Louise Vauxelles coined the art term 'Fauvism', which is French for wild beasts. They freed colour from its restrictive bonds. When skin no longer needed to be painted in tones of pink and brown, a small girl's face could be rendered in green, red, orange and blue. The trick was, the Fauvists still managed to make it work as a representational portrait, not an abstract mess...that came later with Picasso.
The importance of the Fauvists and their four short years of unified activity before going their separate ways cannot be underestimated. Their style is still being emulated today, most typically by landscape and portrait artists. 
This exhibition in Paris is a timely look back to the state of art at the beginning of our century. It is a poke in the eye for artists who regard themselves as avant-gardists of the nineties; Damien Hirst, Chris Ofili and all the other sad, fast-fading Turner Prize winners. Here is an art show that presents images as compelling and exciting as they were when fresh off the easel. Moreover, here is art that authentically managed to revolutionize painting. We can hardly say the same for Hirst's spot pictures or spin-painting attempts. I suggest all those smug Y.B.A.'s (except Hirst is nearly forty so he might be kicked out of the club soon), make a journey cross-channel and learn something. 
 

Vlaminck  bank of the Seine at Carrieres 1906

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