At the exhibition of Salon d'Automne in Paris some young painter displayed their provocative pictures in 1905. Reporting the exhibition, a critic, Louis Vauxelles, nicknamed them 'fauves' - wild- alluding to their really wild, arbitrarily used colours. The contemporaries were shocked at the clear, sharp colours and forms of Matisse, Derain and Marquet's pictures. Their art was liberated from inhibitions and the tradition of not only academic art but also that of impressionism.
In the last years two exhibitions presented the art of this group in Europe and America. The travelling exhibition The Landscapes of Fauvism in 1990 proved that representing the landscape was one of the most important thing for the members of the group. The other exhibition titled Le Fauvisme ou l'epreuve du feu in Paris opposed the approach that defined Le Fauves as a French group. Instead of defining places and borderlines, the display stressed stylistic characteristics of the works. In this way, the trend was re-defined as an international one, and next to the works of French painters, the works of Russian, Dutch, Czech and Hungarian painters were also displayed. This shift of accent is particularly important for Hungarian art, because the 1910s were the years when it could become synchronised with the universal modernist trends. Czóbel, Berény, Perlott and others arrived at Paris at that time and met the Le Fauves. Berény, maybe because of his sensible, experimentalist character was particularly enthusiastic. He could not bear any bonds; he visited free schools instead of academies or worked alone. He attended Gertrude Stein's salon, met Matisse, Picasso and Apollinaire. Though he was enthused over the world of colours the Fauves used, his main intention remained the representation of harmonic union of spatiality and decorativity which fills the surface. His earlier works show the effects of Cezanne's structure-centred aspect and Matisse's stressed decorativity. In connection with an exhibition, Vauxelles already mentioned his name among the Fauves in 1907 together with Czóbel, Delaunay and Metzinger. In 1908 another important critic, Maurice Denis praised his exhibition in Paris. In the following year, he painted the Detail of a Park together with another important picture, Still life with jug. Both show the elemental effect of the art of Cezanne and Matisse.
In 1909 in Budapest a new group of painters introduced their 32 pictures. The contemporary opinions of their art were quite polar but it was evident for all that a new era had begun. Most of the painters displayed huge, representative pictures; Kernstok's Two Boys or Pór's Family were exhibited here for the first time. Today both are canonised, valuable pieces of our history of art and can be seen at the permanent exhibition of Magyar Nemzeti Galéria (Hungarian National Gallery).
Berény also displayed a picture at this exhibition. As the catalogue and the contemporary press mentioned the painting under the name Landscape, we may not have full assurance that it was the picture discussed here but the possibility is not out of question.
The tense structure of the picture evokes Cezanne; the plastic, block-like formations which can be observed mainly in the figures of the bushes on the left side and the free, bright colours make the painting one of Berény's best works which was painted in the most exiting years of Hungarian art in the 20th century.