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By Marc Chagall

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These blessings, these inestimable blessings which with every season are reborn, blossom, tremble ... should we not on occasion recall that they are our inestimable heritage, the inspiration for masterpieces? Have you admired it enough? 28 This sounds like the testament of the Fauves and of all those whose legacy they absorbed. Henri Matisse, Portrait of Lydia Delectorskaya, 1947. 5 cm. State Hermitage Museum, Saint Petersburg. Henri Matisse, Young Woman in a Blue Blouse (Portrait of Lydia Delectorskaya), 1939.

State Hermitage Museum, Saint Petersburg. 54 55 Henri Matisse, The Dance, 1909-1910. Oil on canvas, 260 x 391 cm. State Hermitage Museum, Saint Petersburg. 56 the Fauves. Both these currents continued to flow in parallel, gathering strength in turns, overtaking one another, changing in form but retaining their essence. Not one of the Fauves called himself a Romantic. Nevertheless, the paintings produced by the majority of them make it possible to relate their work to the Romantic tendency, to the line of Delacroix, whom they all valued highly, in contrast to the Cubists, who preferred Jean Auguste Dominique Ingres.

Pushkin State Museum of Fine Arts, Moscow. 52 Henri Matisse, Spanish Still Life, c. 1910-1911. 3 cm. State Hermitage Museum, Saint Petersburg. 53 Henri Matisse, Still Life with ‘The Dance’, 1909. 5 cm. State Hermitage Museum, Saint Petersburg. 54 55 Henri Matisse, The Dance, 1909-1910. Oil on canvas, 260 x 391 cm. State Hermitage Museum, Saint Petersburg. 56 the Fauves. Both these currents continued to flow in parallel, gathering strength in turns, overtaking one another, changing in form but retaining their essence.

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