Fauvism is the style of les Fauves, a group of early 20th-century modern artists whose works emphasized painterly qualities and strong color over the representational or realistic values retained by Impressionism. While Fauvism as a style began around 1904 and continued beyond 1910, the movement as such lasted only a few years, 1905–1908, had three exhibitions; the leaders of the movement were Henri Matisse. Besides Matisse and Derain, other artists included Albert Marquet, Charles Camoin, Louis Valtat, Jean Puy, Maurice de Vlaminck, Henri Manguin, Raoul Dufy, Othon Friesz, Georges Rouault, Jean Metzinger, Kees van Dongen and Georges Braque; the paintings of the Fauves were characterized by wild brush work and strident colors, while their subject matter had a high degree of simplification and abstraction. Fauvism can be classified as an extreme development of Van Gogh's Post-Impressionism fused with the pointillism of Seurat and other Neo-Impressionist painters, in particular Paul Signac. Other key influences were Paul Cézanne and Paul Gauguin, whose employment of areas of saturated color—notably in paintings from Tahiti—strongly influenced Derain's work at Collioure in 1905.

In 1888 Gauguin had said to Paul Sérusier: "How do you see these trees? They are yellow. So, put in yellow. Put in vermilion." Fauvism has been compared to Expressionism, both in its use of pure color and unconstrained brushwork. Some of the Fauves were among the first avant-garde artists to collect and study African and Oceanic art, alongside other forms of non-Western and folk art, leading several Fauves toward the development of Cubism. Gustave Moreau was the movement's inspirational teacher. Moreau's broad-mindedness and affirmation of the expressive potency of pure color was inspirational for his students. Matisse said of him, "He did not set us off the roads, he disturbed our complacency." This source of empathy was taken away with Moreau's death in 1898, but the artists discovered other catalysts for their development. In 1896, Matisse an unknown art student, visited the artist John Russell on the island of Belle Île off the coast of Brittany. Russell was an Impressionist painter; the next year he returned as Russell's student and abandoned his earth-colored palette for bright Impressionist colors stating, "Russell was my teacher, Russell explained color theory to me."

Russell gave Matisse a Van Gogh drawing. In 1901, Maurice de Vlaminck encountered the work of Van Gogh for the first time at an exhibition, declaring soon after that he loved Van Gogh more than his own father. In parallel with the artists' discovery of contemporary avant-garde art came an appreciation of pre-Renaissance French art, shown in a 1904 exhibition, French Primitives. Another aesthetic influence was African sculpture, of which Vlaminck and Matisse were early collectors. Many of the Fauve characteristics first cohered in Matisse's painting, Calme et Volupté, which he painted in the summer of 1904, while he was in Saint-Tropez with Paul Signac and Henri-Edmond Cross. After viewing the boldly colored canvases of Henri Matisse, André Derain, Albert Marquet, Maurice de Vlaminck, Kees van Dongen, Charles Camoin, Jean Puy at the Salon d'Automne of 1905, the critic Louis Vauxcelles disparaged the painters as "fauves", thus giving their movement the name by which it became known, Fauvism; the artists shared their first exhibition at the 1905 Salon d'Automne.

The group gained their name after Vauxcelles described their show of work with the phrase "Donatello chez les fauves", contrasting their "orgie of tones" with a Renaissance-style sculpture by Albert Marque that shared the room with them. Henri Rousseau was not a Fauve, but his large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited near Matisse's work and may have had an influence on the pejorative used. Vauxcelles' comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, passed into popular usage; the pictures gained considerable condemnation—"A pot of paint has been flung in the face of the public", wrote the critic Camille Mauclair —but some favorable attention. The painting, singled out for attacks was Matisse's Woman with a Hat. Matisse's Neo-Impressionist landscape, Calme et Volupté, had been exhibited at the Salon des Indépendants in the spring of 1905. Following the Salon d'Automne of 1905, which marked the beginning of Fauvism, the Salon des Indépendants of 1906 marked the first time all the Fauves would exhibit together.

The centerpiece of the exhibition was Matisse's monumental Le Bonheur de Vivre. Critics were horrified by bright colors, eclectic style and mixed technique; the triangular composition is related to Paul Cézanne's Bathers, a series that would soon become a source of inspiration for Picasso's Les Demoiselles d'

The Holy Cross College of Calinan is a Catholic institution of learning in Calinan, Davao City, Philippines. It is administered by the Sisters of the Presentation of Mary; the college was established in June 1948 as a high school institution. In 1958, the Sisters of the Presentation of Mary, a Catholic congregation, took over the management of the school; the growth of the school population forced the establishment of the college department in 1964, offered the four-year course in Education, Liberal Arts and Commerce with an initial enrolment of 68 students. In 1967-1968, the first college enrolees were ready to graduate from the four-year course in the college department. There were a total of 37 graduates for that year. In 1989-1900, the HCCC added Nursing Aide for protection, General Electronics, Practical Electricity. During an event at the College. A Grade 7 student called Anne Basag died after suffering third degree burn when her costume caught fire while participating during the school’s intramurals last October 25, 2019.

The College was criticized for lack of safety equipment. HCCC has two campuses: the Main Campus along the Talomo Campus. Business Administration Education Liberal Arts

Kotsuyōsui Station is a railway station in the town of Fusō, Aichi Prefecture, operated by Meitetsu. Kotsuyōsui Station is served by the Meitetsu Inuyama Line, is located 22.6 kilometers from the starting point of the line at Biwajima. The station has two opposed side platforms connected by an underpass; the platforms are of uneven length. The platform for Nagoya-bound trains is longer, can handle trains of up to eight carriages in length, whereas the platform for Inuyama-bound trains is shorter, can handle trains of only up to six carriages in length; the station is unattended. Kotsuyōsui Station was opened on August 6, 1912; the station was closed in 1944, reopened on November 18, 1952. It has been unattended since June 1974. A new station building was completed in January 2004. Toyobo Inuyama factory List of Railway Stations in Japan Media related to Kotsuyōsui Station at Wikimedia Commons Official web page