Friesz, Othon (1879-1949) - 1907 La Ciotat (The Davies Sisters Collection, Wales)
Othon Friesz was a French artist of the Fauvist movement. It was while he was at the Lycée that he met his lifelong friend Raoul Dufy. He and Dufy studied at the Le Havre School of Fine Arts in 1895-96 and then went to Paris together. In Paris, Friesz met Henri Matisse, Albert Marquet, and Georges Rouault. Like them he rebelled against the academic teaching of Bonnat and became a member of the Fauves, exhibiting with them in 1907. The following year Friesz left Paris to return to Normandy and to a much more traditional style of painting, since he had discovered that his personal goals in painting were firmly rooted in the past. He returned to Paris in 1919 and remained there until his death in 1949, painting in a style completely removed from that of his earlier colleagues and his contemporaries. Having abandoned the lively arabesques and brilliant colors of his Fauve years, Friesz returned to the more sober palette he had learned in Le Havre from his professor Charles Lhuillier and to an early admiration for Poussin, Chardin, and Corot. He painted in a manner that respected Cézanne's ideas of logical composition, simple tonality, solidity of volume, and distinct separation of planes.
Friesz, Othon (1879-1949) - 1907 La Ciotat (The Davies Sisters Collection, Wales)
Othon Friesz was a French artist of the Fauvist movement. It was while he was at the Lycée that he met his lifelong friend Raoul Dufy. He and Dufy studied at the Le Havre School of Fine Arts in 1895-96 and then went to Paris together. In Paris, Friesz met Henri Matisse, Albert Marquet, and Georges Rouault. Like them he rebelled against the academic teaching of Bonnat and became a member of the Fauves, exhibiting with them in 1907. The following year Friesz left Paris to return to Normandy and to a much more traditional style of painting, since he had discovered that his personal goals in painting were firmly rooted in the past. He returned to Paris in 1919 and remained there until his death in 1949, painting in a style completely removed from that of his earlier colleagues and his contemporaries. Having abandoned the lively arabesques and brilliant colors of his Fauve years, Friesz returned to the more sober palette he had learned in Le Havre from his professor Charles Lhuillier and to an early admiration for Poussin, Chardin, and Corot. He painted in a manner that respected Cézanne's ideas of logical composition, simple tonality, solidity of volume, and distinct separation of planes.