Colorism

Colorism finds its roots in the Les Fauves style, a flow that was led by wild fools from France, who, with Henri Matisse and others, withstand the Impressionist realism, which is also evident in the works of Expressionists. Fauvism was a part of that flow too but focused itself more strongly on the saturated and rich colors. Fauvism existed briefly and should only be mentioned because the style is of great importance to subsequent art directions and, not least, the colorists.
 
Colorism is best characterized by its use of strong and intense colors that dominate the painting to a greater extent than the represented object. It will be the colors that define the object rather than the object which determines the choice of colors. Bright places, or the light in the painting, are represented by warm colors like red or orange. Instead of black, the cool colors as green and blue were used by the artists. This choice of colors comes from discoveries related to the light spectrum. Black and white as such did not exist in the colorist's palette, and you should not look for symbolic messages in their works. They were making simple paintings that should interpret the immediate impression, and vice versa, for example, it happened that Impressionists were using wide and violent brush strokes, as the colors were the most important.

Colorism quickly extended and took its spot among so many other places outside the France, and the main countries that continued and experimented with colorism were Scotland, America, and Poland.

Kapizm, or Polish colorism, started in 1924 when a group of students from the Polish Art Academy wanted to raise money for a trip to Paris to expand their artistic knowledge.

The Paris Committee (KP of which the KaPizm came from) spent 7 years in Paris, where they were strongly influenced by French post-impressionism. They became known as "Polish post-impressionists" and brought many of their newly learned techniques from France into Polish art. The Committee was a powerful factor and new wave of paintings in the Middle War period that as a result became an important counterpart to Polish Romanticism.