It is the fan that Matisse has given the greatest representational texture, and it appears to be the roughest object in the whole composition. Its lace is rendered in long wide diagonal strokes of thick white and blue paint. The space of the painting is very shallow. This lack of any perceivable special depth, as well as the total obliteration of any background details has the effect of bringing her outstandingly close to the viewer. Her motion appears to be paused.
Time is not frozen per say, so much as she appears to be captured between motions. What we are seeing is a temporary break in motion. While her face is clearly pointed at the viewer, it is the fan that opens up the figure, turns her, and helps her face the viewer. Either she is facing us, or she is looking back from a shoulders and torso turn, or she is turning away and looking over her shoulder and we have intercepted her look.
In this painting color mimics light and there is no play of light and shadow per say. There is only the interplay of various hues. There are four distinctively dark regions of the painting, though they are small in comparison to the color extravaganza that is the rest of the painting.
This dark region continues upward and becomes a thick black stripe along her shoulder. The second shaded area is on the left side of her hat. This dark shadow emphasizes the curving of the hat. The third dim area is on the opposite side of the hat. Here the dark paint is more evenly diffused with other colors than elsewhere.
It serves to add depth to the objects in the hat, and the right edge of the hat itself. The last dark area is directly beneath her hand that holds the fan. Here a dark shadow is cast from beneath the fan, it serves to enlighten the viewer that she is holding the fan outward and that her arm is the nearest object in the painting. Matisse has rendered his wife in bombastic unnatural colors. The colors are what take the picture from portraiture to expression.
It is not a portrait of Madame Matisse so much as it is the visual expression of her. The colors are vivid and unnatural, and they alternate between warm and cool hues. There are three major hues that dominate the composition: Starting at the bottom left quadrant of the picture, one sees orange-red.
This color is, for the most part, singular and is not blended or mixed with any other. About a quarter of the way up the picture the orange-red collides with both blue-green and lavender-pink. These colors go on to give way to blue, white-blue, yellow, and green.
The yellow patch behind the hat stands out noticeably. On the right side of the composition there are less colors. The upper right background is dominated by green and white. These colors are mixed with other hues and interact aggressively where they meet, but on the whole, the right is just these two colors. Three quarters length down the painting on the right side, a large array of colors becomes apparent.
Red, orange, green, blue and white all intermingle in this rather small color field. This is the only part of the painting that has no defined lines at all. The figure itself is dominated by and composed of an assortment of juxtaposed colors as well. The focal point of the composition is the face.
A rather thin line gives us the outline of a face, but it is solely color that brings a face to life. Luxembourg Gardens , , Hermitage Museum , St. Dishes and Fruit , , Hermitage Museum , St.
Landscape at Collioure , , Museum of Modern Art. Le bonheur de vivre , —6, Barnes Foundation. Blue Nude , , Baltimore Museum of Art. La coiffure , , Staatsgalerie Stuttgart. Exhibited at the Armory Show.
Game of Bowls , , Hermitage Museum , St. The Dance , , Hermitage Museum , St. Music , , Hermitage Museum , St. Around April he met Pablo Picasso , who was 11 years younger than Matisse. One key difference between them is that Matisse drew and painted from nature, while Picasso was more inclined to work from imagination.
The subjects painted most frequently by both artists were women and still lifes , with Matisse more likely to place his figures in fully realised interiors. During the first decade of the twentieth century, the Americans in Paris—Gertrude Stein, her brothers Leo Stein , Michael Stein, and Michael's wife Sarah —were important collectors and supporters of Matisse's paintings.
In addition, Gertrude Stein's two American friends from Baltimore , the Cone sisters Claribel and Etta, became major patrons of Matisse and Picasso, collecting hundreds of their paintings and drawings. The Cone collection is now exhibited in the Baltimore Museum of Art. While numerous artists visited the Stein salon, many of these artists were not represented among the paintings on the walls at 27 rue de Fleurus.
Contemporaries of Leo and Gertrude Stein, Matisse and Picasso became part of their social circle and routinely joined the gatherings that took place on Saturday evenings at 27 rue de Fleurus. Gertrude attributed the beginnings of the Saturday evening salons to Matisse, remarking:.
Matisse brought people, everybody brought somebody, and they came at any time and it began to be a nuisance, and it was in this way that Saturday evenings began.
It operated from until Matisse spent seven months in Morocco from to , producing about 24 paintings and numerous drawings. His frequent orientalist topics of later paintings, such as odalisques , can be traced to this period. The Conversation , c. French Window at Collioure , Portrait de famille The Music Lesson , , oil on canvas, His work of the decade or so following this relocation shows a relaxation and softening of his approach.
This " return to order " is characteristic of much post- World War I art, and can be compared with the neoclassicism of Picasso and Stravinsky as well as the return to traditionalism of Derain. Matisse's orientalist odalisque paintings are characteristic of the period; while this work was popular, some contemporary critics found it shallow and decorative.
In the late s Matisse once again engaged in active collaborations with other artists. He worked with not only Frenchmen, Dutch, Germans, and Spaniards, but also a few Americans and recent American immigrants. After a new vigor and bolder simplification appeared in his work. American art collector Albert C. Barnes convinced Matisse to produce a large mural for the Barnes Foundation , The Dance II , which was completed in ; the Foundation owns several dozen other Matisse paintings.
This move toward simplification and a foreshadowing of the cutout technique is also evident in his painting Large Reclining Nude Matisse worked on this painting for several months and documented the progress with a series of 22 photographs, which he sent to Etta Cone. Delectorskaya attempted suicide by shooting herself in the chest; remarkably, she survived with no serious after-effects, and instead returned to Matisse and worked with him for the rest of his life, running his household, paying the bills, typing his correspondence, keeping meticulous records, assisting in the studio and coordinating his business affairs.
Matisse was visiting Paris when the Nazis invaded France in June but managed to make his way back to Nice. His son, Pierre, by then a gallery owner in New York, begged him to flee while he could. Matisse was about to embark for Brazil to escape the Occupation but changed his mind and remained in Nice, in Vichy France.
While the Nazis occupied France from to , they were more lenient in their attacks on "degenerate art" in Paris than they were in the German-speaking nations under their military dictatorship. Matisse was allowed to exhibit along with other former Fauves and Cubists whom Hitler had initially claimed to despise, though without any Jewish artists, all of whose works had been purged from all French museums and galleries; any French artists exhibiting in France had to sign an oath assuring their "Aryan" status—including Matisse.
In , Matisse was diagnosed with duodenal cancer. The surgery, while successful, resulted in serious complications from which he nearly died. That same year, a nursing student named Monique Bourgeois responded to an ad placed by Matisse for a nurse. A platonic friendship developed between Matisse and Bourgeois. He discovered that she was an amateur artist and taught her about perspective.
After Bourgeois left the position to join a convent in , Matisse sometimes contacted her to request that she model for him. Bourgeois became a Dominican nun in , and Matisse painted a chapel in Vence, a small town he moved to in , in her honor. Matisse remained for the most part isolated in southern France throughout the war but his family was intimately involved with the French resistance.
In , he held an exhibit in New York, "Artists in Exile," which was to become legendary. Matisse's estranged wife, Amelie, was a typist for the French Underground and jailed for six months.
Diagnosed with abdominal cancer in , Matisse underwent surgery that left him chair and bed bound. Painting and sculpture had become physical challenges, so he turned to a new type of medium. With the help of his assistants, he began creating cut paper collages, or decoupage. He would cut sheets of paper, pre-painted with gouache by his assistants, into shapes of varying colours and sizes, and arrange them to form lively compositions.
Initially, these pieces were modest in size, but eventually transformed into murals or room-sized works. The result was a distinct and dimensional complexity—an art form that was not quite painting, but not quite sculpture.
Barnes arranged for cardboard templates to be made of the unusual dimensions of the walls onto which Matisse, in his studio in Nice, fixed the composition of painted paper shapes. Another group of cut-outs were made between and , while Matisse was working on the stage sets and costumes for Sergei Diaghilev 's Ballets Russes.
However, it was only after his operation that, bedridden, Matisse began to develop the cut-out technique as its own form, rather than its prior utilitarian origin. He moved to the hilltop of Vence in , where he produced his first major cut-out project for his artist's book titled Jazz. However, these cut-outs were conceived as designs for stencil prints to be looked at in the book, rather than as independent pictorial works.
At this point, Matisse still thought of the cut-outs as separate from his principal art form. His new understanding of this medium unfolds with the introduction for Jazz.
After summarizing his career, Matisse refers to the possibilities the cut-out technique offers, insisting "An artist must never be a prisoner of himself, prisoner of a style, prisoner of a reputation, prisoner of success…" . The number of independently conceived cut-outs steadily increased following Jazz , and eventually led to the creation of mural-size works, such as Oceania the Sky and Oceania the Sea of The two Oceania pieces, his first cut-outs of this scale, evoked a trip to Tahiti he made years before.
In , Matisse began to prepare designs for the Chapelle du Rosaire de Vence , which allowed him to expand this technique within a truly decorative context. The experience of designing the chapel windows, chasubles , and tabernacle door—all planned using the cut-out method—had the effect of consolidating the medium as his primary focus.
Finishing his last painting in and final sculpture the year before , Matisse utilized the paper cut-out as his sole medium for expression up until his death.
This project was the result of the close friendship between Matisse and Bourgeois, now Sister Jacques-Marie, despite his being an atheist. In he established a museum dedicated to his work, the Matisse Museum in Le Cateau , and this museum is now the third-largest collection of Matisse works in France. Installation was completed in Matisse died of a heart attack at the age of 84 on 3 November The first painting of Matisse acquired by a public collection was Still Life with Geraniums , exhibited in the Pinakothek der Moderne.
Previously, it had not been seen by the public since Matisse's daughter Marguerite often aided Matisse scholars with insights about his working methods and his works. She died in while compiling a catalogue of her father's work. Matisse's son Pierre Matisse — opened a modern art gallery in New York City during the s.
The Pierre Matisse Gallery, which was active from until , represented and exhibited many European artists and a few Americans and Canadians in New York often for the first time.
Henri Matisse introduced his new ideas to the art world at the turn of the century. At the time art was slowly becoming Modern. The new age of modernism, was based on the simple view of objects, letting them become the art; rather than the artist making art out of them.
Henri Matisse - Henri Matisse Henri Matisse was born December 31st, to two storeowners, Emile and Heloise Matisse. His father wanted him to be a lawyer, so later on in life he could takeover the .
Henri Matisse was born December 31st, to two storeowners, Emile and Heloise Matisse. His father wanted him to be a lawyer, so later on in life he could takeover the family business. They sent him to Henri Martin Grammar School where he studied to be a lawyer. Daily, henri matisse: matisse/diebenkorn, whose work, photography, paris france and five essays, visitors. For your essays; term and 20, was a book cover designs. Benefit from russia during the papers and research paper cut and focal point: john m.
Henri Matisse was born in Northern France in During his youth, he had no interest in art. His father had high hopes for him to become a lawyer or work at a store when he got older.4/4(1). Henri Matisse and currently on display at the Metropolitan Museum of Art.1 The artist created the painting using oil on canvas during the years to Henri Matisse was revealed to be a French artist who was born in and died in