In 1905, Henri Matisse and André Derain summered collectively in Collioure, a fishing port within the South of France. There, they spent a fervid 9 weeks upending compositional norms of their work and drawings, rendering the boats, the panorama, and one another in swathes of saturated, complementary hues. In “Vertigo of Shade: Matisse, Derain, and the Origins of Fauvism,” beforehand at The Metropolitan Museum of Artwork and now on view on the Museum of Advantageous Arts, Houston, by means of Could 27, the fruits of this 20th-century link-and-build are on vivid show. Matisse’s small but punchy Open Window, Collioure (1905) captures the motion: Broad brushstrokes and a hypersaturated palette of unmixed pigments work in spontaneous tandem to create not solely the representational open window on canvas, however a view into a brand new faculty of inventive thought. Their Mediterranean oeuvre earned them the nickname Les Fauves, or “wild beasts,” and aptly so. “My selection of colours doesn’t relaxation on any scientific concept; it’s primarily based on remark, on feeling, on the expertise of my sensibility,” Matisse wrote. In that spirit, chase off the winter doldrums with items vibrant sufficient to be plucked from Derain’s and Matisse’s very canvases—marmalade polos, vert satchels, a timepiece in wealthy plum. Go forward, let your outfit shout just a little.