Rouault was different from Matisse in that, as well as form, color and line, he used the human face to display emotion. He was concerned about corruption and his art reflected hope for spiritual renewal via the revitalization of the Catholic church. His training in stained glass is apparent in works such as The Old King. In this painting Rouault used heavy lines and glowing colors that are reminiscent of stained glass. .
Fauvism was basically a collection of many different styles. The only link between the artists of this movement is a common sense of freedom and experimentation. They eventually began to lose their inspiration and were deeply affected by the challenges raised by cubism. The Fauves became increasingly individualistic and began to leave the movement by 1908. The main importance of fauvism was their influence on other artists, most notably in Germany.
German expressionism arose at the same time as fauvism. The Germans differed from the French in many ways. German expressionism was more varied, widespread, and spontaneous than fauvism. It also dealt with more extreme emotions, and was more morbid and neurotic. The movement in Germany began with a Dresden group called Die Brucke, or The Bridge. This group had origins in various "Secessions" that occurred in Germany beginning in 1890. (The Secessions were an opposition to a government policy of using artists to glorify the reigning monarchy or such historical subjects as the government saw fit.).
The core of Die Brucke consisted of four architectural students: Ernst Ludwig Kirchner, Fritz Bleyl, Erich Heckel, and Karl Schmidt-Rottluff. These young men had little or no experience or training in painting. Like the Fauves, they were greatly influenced by the works of Gauguin, Van Gogh, and Cezanne, as well as Edvard Munch. Die Brucke sought to revive German art and to this end they took up woodcuts, which they considered to be a true German art form.