The idea that art could approximate music is reflected in Henri Matisse’s Red Room (Harmony in Red) (1909, State Hermitage Museum, Saint Petersburg, Russia), a painting whose subtitle is borrowed from musical terminology. From Gauguin, Matisse borrowed large areas of unvaried color, simplified shapes, and heavy contour lines. The simplicity of Matisse’s drawing style relates to Gauguin’s fascination with the art of non-Western cultures. Matisse also employed the abstract designs of carpets and textiles, reinforcing the flatness of the painting rather than attempting to create the illusion of depth. His interest in these designs demonstrates the influence of forms of creativity not often associated with fine art.

Although Red Room was intended as a pleasing image of middle-class domesticity, Matisse’s manner of depiction was considered highly revolutionary, especially in the way he assigned intense colors to objects arbitrarily and not according to their appearance in nature. A scandalized contemporary critic declared Matisse and his fellow artists—André Derain, Maurice de Vlaminck, and Georges Braque (of France), and Kees van Dongen (of the Netherlands)—to be fauves (French for "wild beasts"). This derogatory term became the name of their movement. Fauvism lasted only from about 1898 to 1908, but it had an enduring impact on 20th-century art.