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With the name of Cézanne are associated the names of two men whose work shows his influence, VanGogh and Gauguin, and one whose work is wholly different, Henri Rousseau, the custom house employee who painted without instruction; later, but also conspicuously, Henri Matisse.

These are the leaders of Fauvism.

At the exhibition in New York one had the unusual opportunity of seeing in close contact many works of all four. It would be difficult to imagine paintings more different in inspiration and technic. They had but one thing in common—a pronounced reaction from, not to say revolt against, Impressionism, evidenced particularly in the use of color constructively and decoratively rather than imitatively.

Color force is a feature of the new inspiration.

The painters of today have discovered anew the world’s coloring. We now recognize everywhere the power and vivaciousness, the thousandfold freshness, and the infinite changefulness of color. To us colors now talk directly; they are not drowned by covering tints, not hide-bound by a preconceived harmony. An instrument has thus been given, wherein innumerable melodies still slumber.