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1. André
Derain, Charing Cross Bridge, London, 1906, National Gallery
of Art, Washington, John Hay Whitney Collection 1982.76.3
2. André
Derain, Mountains at Collioure, 1905, National Gallery of
Art, Washington, John Hay Whitney Collection 1982.76.4
3. André
Derain, View of the Thames, 1906, National Gallery of Art,
Washington, Collection of Mr. and Mrs. Paul Mellon 1985.64.12
4. Albert Marquet,
Posters at Trouville, 1906, National Gallery of Art, Washington,
Collection of Mr. and Mrs. John Hay Whitney 1998.74.1
5. Maurice de
Vlaminck, Tugboat on the Seine, Chatou, 1906, National Gallery
of Art, Washington, Collection of Mr. and Mrs. John Hay Whitney
1998.74.4
6. Georges Braque,
The Port of La Ciotat, 1907, National Gallery of Art, Washington,
Collection of Mr. and Mrs. John Hay Whitney 1998.74.6
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Matisse
and colleagues, including André Derain, Maurice de Vlaminck, and
Albert Marquet, persevere, and their paintings are hung in Room 7. The
public jeers at the "orgy of pure colors," judging the works primitive,
brutal, and violent. The artists are dubbed "fauves"—wild beasts.
Room 7 becomes "la cage."
The
term fauve, actually coined by a generally sympathetic critic, has stuck.
It describes a style that, while short-lived, was the first avant-garde
wave of the twentieth century. The jeering audiences in Room 7 got an
early look at what the century would bring.
Most
of these fauve paintings were done in the years immediately after the
1905 exhibition.
 
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