As Alvin Martin and Judi Freeman write: “What distinguished the work of the Fauves from Le Havre (Dufy, Friesz and Braque) from that of Matisse and company was the treatment of surface and color. Whereas the Norman artists have been steadfastly loyal to the Impressionist approach to painting, Matisse, Derain, Vlaminck and the others borrowed extensively from the far more audacious generation that succeeded the Impressionists. The Norman Fauves found irresistible the full-blown Fauve manner of painting, characterized by highly saturated color and the laying in of brilliant tones side by side, and they inevitably responded to it in their own work, produced back in their native Normandy” (Alvin Martin & Judi Freeman, “The Distant Cousins in Normandy: Braque, Dufy and Friesz,” in The Fauve Landscape, New York, 1990, pp. 221-22).
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