The work of Charles Camoin is said to bridge the gap between the Post-Impressionist and the Fauvist schools. This is reasonably accurate since the artist's career began in the nineteenth century and ended in the twentieth; effectively containing a wide period of transition and stylistic change. Additionally, Camoin was a close friend to many of those who painted in the two styles, including Paul Cezanne and Henri Matisse.
While Camoin's work would indeed reflect influences from both schools, and while he himself was one of the original "Fauves", he would decline to choose any specific "style" for his work.
This even extended to the physical space he occupied. He would maintain two studios during his career, and each would inspire him to paint radically different subject matter and even in a different style. In his Montmartre studio he focused on still life, nudes and portraits, while in his St. Tropez studio he became a painter of the landscape outside of his windows.
He never fully adhered to the methods of the Fauvists, who used wild brush strokes and brilliant colors to depict their overly simplified subject, nor the Post-Impressionists who relied on thick applications of paint and distortion of their image to achieve effect. Rather he combined the two into his own unique expression and style.
Camoin's work was shown widely during his lifetime, and after his death a major retrospective show travelled to some of the world's largest museums and galleries. He was recognized by the French government in 1955, receiving the Prix du Presidente de la Republique. He died in 1965.