Det er denne særlige konceptuelle blending der bidrager mest til min store fascination og fornøjelse ved at beskue dem.
Jeg har det med Matisse lidt som med Picasso. Jeg kan intellektuelt indse de er geniale, men de fleste billeder i deres senere produktion (be)rører mig ikke.
Derain and Matisse worked together through the summer of 1905 in the Mediterranean village of Collioure and later that year displayed their highly innovative paintings at the Salon d'Automne. The vivid, unnatural colors led the critic Louis Vauxcellesto derisively dub their works as les Fauves, or "the wild beasts", marking the start of the Fauvist movement.In March 1906, the noted art dealer Ambroise Vollard sent Derain to London to compose a series of paintings with the city as subject. In 30 paintings (29 of which are still extant), Derain put forth a portrait of London that was radically different from anything done by previous painters of the city such as Whistler or Monet. With bold colors and compositions, Derain painted multiple pictures of the Thames and Tower Bridge. These London paintings remain among his most popular work. Art critic T.G Rosenthal: " Not since Monet has anyone made London seem so fresh and yet remain quintessentially English. Some of his views of the Thames use the Pointillist technique of multiple dots, although by this time, because the dots have become much larger, it is rather more simply the separation of colours called Divisionism and it is peculiarly effective in conveying the fragmentation of colour in moving water in sunlight." 
During the German occupation of France in World War II, Derain lived primarily in Paris and was much courted by the Germans because he represented the prestige of French culture. Derain accepted an invitation to make an official visit to Germany in 1941, and traveled with other French artists to Berlin to attend a Nazi exhibition of an officially endorsed artist, Arno Breker. Derain's presence in Germany was used effectively by Nazi propaganda, and after the Liberation he was branded a collaborator and ostracized by many former supporters.
Og her et par af Albert Marquet:
Her et af Cross:
Og endelig Matisses eget store maleri i pointilistisk stil - det berømte ´Luxe, Calme et Volupté´ - inspreret af samværet med de to andre:
De må godt nok have haft det skægt, den gruppe malere, i de år når de tog til Sydfrankrig for at male sammen.