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Under Signac, Matisse became a star pupil. However, the Le Bonheur de vivre, incensed Signac with colored contours and flat planes of color. Nevertheless, this caused him to emerge as the leader of the Fauves. Yve-Alain Bois points out that Lawrence Gowing suggests that Fauvism was the best prepared of all the twentieth century revolutions (72). Bois maintains that the most passionate supporter of advanced French painting in the English-speaking world (73) at this time was Roger Fry. A member of the Bloomsbury Group, Frys passion became the Groups model for a life devoted too the minute analysis of sensation and consciousness (73). Virginia Woolf and Maynard Keynes were among some of the Groups members. In his Fauve productivity, Matisse abandons the divisionist brushstroke. Bois maintains that he preserves Signacs direction of the use of pure color and the organization of the picture pane through contrasts of complementary pairs (74) but he relinquishes the most easily recognizable common denominator of Cezanne and Seurat: their search for a unitary mode of notation (74). Bois also asserts that when Matisse finally gets Cezanne and stops trying to imitate him is precisely when he bids farewell to the tedium of pointillism (74).

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