Many German Expressionists, such as Wassily Kandinsky and Paul Klee, went on to develop their use of colour at the Bauhaus, Germany’s iconic design school. ![]() In increasingly abstract scenes, colours were applied in free painterly strokes - and again, were not selected to represent nature but to express the emotions it evoked in the artist. Meanwhile, Matisse’s contemporaries across Europe - but in Goethe’s native Germany particularly - were busy founding the related Expressionist movement. They didn’t use a colour wheel to choose them - but their stirring, colour-popping choices form part of a new, expressive and mystical mood in the arts that was in part indebted to Goethe. He and his friend André Derain painted the above portraits of one another to announce their new radical use of colour. Before he created the cut-outs currently at Tate Modern, Henri Matisse co-founded what was pejoratively termed Fauvism - meaning the wild beasts - a new use of colour that was bright, non-naturalistic and, well, wild. ![]() Then a French painter came along and tipped tradition on its head again. In the late 19th century, the Impressionists used Newton’s lessons to recreate scenes of modern life defying tradition, they started with a bright white canvas and used contrasting strokes of pure colour to create a prismatic effect of light playing on haystacks and water lilies.
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