Henri Matisse and the Fauves


Paul Cézanne, Le Château Noir, 1900/1904, Gift of Eugene and Agnes E. Meyer 1958.10.1		Georges Braque, Harbor, 1909, National Gallery of Art, Washington, Gift of Victoria Nebeker Coberly in memory of her son, John W. Mudd 1992.3.1

Braque brought to his paintings a greater interest in structure and organizing geometry than his fellow fauves, and this was strengthened in 1907, when he saw a retrospective of Paul Cézanne's works at the Salon d'automne. Braque's own painting became more concerned with construction of form, less with brilliant color and bold brushwork.