Painting with Scissors Henri Matisse

Painting with Scissors Henri Matisse k-2 Henri Matisse was a French artist who created art by cutting bold shapes out of bright colors of paper and gluing them on a flat surface. These PAPER-CUTS, as they are called, were often very large. Matisse called this art form “Painting with Scissors.” Click here to watch a short video Henri Matisse1869-1954 Paper Cut-outs Repetition- to repeat art elements such as color and shapes throughout a work of art. Patterns are made by repetition. Organic shapes-shapes that can be found in nature; leaves, seaweed, flowers, etc.… Matisse,H. The Lagoon Geometric Shapes- shapes that can be mathematically measured, mostly made by humans. Matisse,H. The Snail Let’s get started: Our goal for this lesson: We will interact with organic and geometric shapes as we cut and arrange them into a balanced paper-cut composition that demonstrates repetition. The artwork of Henri Matisse will be viewed and serve as our inspiration. OR + + Materials needed: • Paper in different colors OR white paper and anything to color the white paper with (crayons, paint, markers or color pencils) • Glue • Scissors • Anything else you might want to add (ribbon, fabric scraps, magazine pictures, etc.) Things to consider: Choices! • Composition- the way the objects are arranged in my work of art. • Do I want to create a frame? • Space- what’s happening in the areas around my shapes? • Color- Will I have a theme? (warm and cool, primary or secondary) • Will I add patterns? • Will my picture tell a story? Or be abstract? (just shapes and colors) Repetition IDEA EXAMPLES: Crayon colored organic shapes collage Construction paper Example for making Abstract your own paper by coloring with crayons. 1.Color 2. Draw shapes 3. Cut and glue Steps: 1. Either use color paper of any kind or white paper that has been colored or painted(see above). 2. Draw a variety of organic and geometric shapes on your papers for cutting. 3. Cut out the shapes, but don’t glue them down yet. 4. When you have all your pieces cut out and arranged the way you like, then glue the pieces of your artwork together. We would love to see your artwork when you’re done! • To share: • Please click here to go to our padlet page and post a photo of your artwork! • If you can’t post to padlet, you may also email your art teacher: [email protected] [email protected] • You may also post to our school’s facebook site if you’d like! Slide two: Matisse, Henri. The Wine Press Matisse, H. Photograph, Getty images,1947 Slide three: Matisse, Henri. White Algae on orange and red background Matisse, Henri. The Creole Dancer Matisse, Henri. Le Codomas, Jazz. 1947 Matisse, Henri. White seaweed on red and green background. Slide four: Matisse, Henri. Le Lagoon 1947 Slide five: Matisse, Henri. The Snail Slide six: Matisse, Henri. La Gerbe Slide seven: Matisse, Henri. Pierrot’s Funeral Teacher made examples.

Copy Link

Recommended publications

Artists' Journeys IMAGE NINE: Paul Gauguin. French, 1848–1903. Noa
LESSON THREE: Artists’ Journeys 19 L E S S O N S IMAGE NINE: Paul Gauguin. French, 1848–1903. IMAGE TEN: Henri Matisse. French, Noa Noa (Fragrance) from Noa Noa. 1893–94. 1869–1954. Study for “Luxe, calme et volupté.” 7 One from a series of ten woodcuts. Woodcut on 1905. Oil on canvas, 12 ⁄8 x 16" (32.7 x endgrain boxwood, printed in color with stencils. 40.6 cm). The Museum of Modern Art, 1 Composition: 14 x 8 ⁄16" (35.5 x 20.5 cm); sheet: New York. Mrs. John Hay Whitney Bequest. 1 5 15 ⁄2 x 9 ⁄8" (39.3 x 24.4 cm). Publisher: the artist, © 2005 Succession H. Matisse, Paris/Artists Paris. Printer: Louis Ray, Paris. Edition: 25–30. Rights Society (ARS), New York The Museum of Modern Art, New York. Lillie P. Bliss Collection IMAGE ELEVEN: Henri Matisse. French, 1869–1954. IMAGE TWELVE: Vasily Kandinsky. French, born Landscape at Collioure. 1905. Oil on canvas, Russia, 1866–1944. Picture with an Archer. 1909. 1 3 7 3 15 ⁄4 x 18 ⁄8" (38.8 x 46.6 cm). The Museum of Oil on canvas, 68 ⁄8 x 57 ⁄8" (175 x 144.6 cm). Modern Art, New York. Gift and Bequest of Louise The Museum of Modern Art, New York. Gift and Reinhardt Smith. © 2005 Succession H. Matisse, Bequest of Louise Reinhardt Smith. © 2005 Artists Paris/Artists Rights Society (ARS), New York Rights Society (ARS), New York/ADAGP,Paris INTRODUCTION Late nineteenth- and early twentieth-century artists often took advantage of innovations in transportation by traveling to exotic or rural locations.
[Show full text]
Henri Matisse's the Italian Woman, by Pierre
Guggenheim Museum Archives Reel-to-Reel collection Hilla Rebay Lecture: Henri Matisse’s The Italian Woman, by Pierre Schneider, 1982 PART 1 THOMAS M. MESSER Good evening, ladies and gentlemen, and welcome to the third lecture within the Hilla Rebay Series. As you know, it is dedicated to a particular work of art, and so I must remind you that last spring, the Museum of Modern Art here in New York, and the Guggenheim, engaged in something that I think may be called, without exaggeration, a historic exchange of masterpieces. We agreed to complete MoMA’s Kandinsky seasons, because the Campbell panels that I ultimately perceived as seasons, had, [00:01:00] until that time, been divided between the Museum of Modern Art and ourselves. We gave them, in other words, fall and winter, to complete the foursome. In exchange, we received, from the Museum of Modern Art, two very important paintings: a major Picasso Still Life of the early 1930s, and the first Matisse ever to enter our collection, entitled The Italian Woman. The public occasion has passed. We have, for the purpose, reinstalled the entire Thannhauser wing, and I'm sure that you have had occasion to see how the Matisse and the new Picasso have been included [00:02:00] in our collection. It seemed appropriate to accompany this public gesture with a scholarly event, and we have therefore, decided this year, to devote the Hilla Rebay Lecture to The Italian Woman. Naturally, we had to find an appropriate speaker for the event and it did not take us too long to come upon Pierre Schneider, who resides in Paris and who has agreed to make his very considerable Matisse expertise available for this occasion.
[Show full text]
Matisse Dance with Joy Ebook
MATISSE DANCE WITH JOY PDF, EPUB, EBOOK Susan Goldman Rubin | 26 pages | 03 Jun 2008 | CHRONICLE BOOKS | 9780811862882 | English | San Francisco, United States Matisse Dance with Joy PDF Book Sell your art. Indeed, Matisse, with its use of strong colors and long, curved lines will initially influenced his acolytes Derain and Vlaminck, then expressionist and surrealist painters same. Jun 13, Mir rated it liked it Shelves: art. He starts using this practice since the title, 'Tonight at Noon' as it is impossible because noon can't ever be at night as it is during midday. Tags: h mastisse, matisse henri, matisse joy of life, matisse goldfish, matisse for kids, matisse drawing, drawings, artsy, matisse painting, henri matisse paintings, masterpiece, artist, abstract, matisse, famous, popular, vintage, expensive, henri matisse, womens, matisse artwork. Welcome back. Master's or higher degree. Matisse had a daughter with his model Caroline Joblau in and in he married Amelie Noelie Parayre with whom he raised Marguerite and their own two sons. Henri Matisse — La joie de vivre Essay. Tags: matisse, matisse henri, matisse art, matisse paintings, picasso, picasso matisse, matisse painting, henri matisse art, artist matisse, henri matisse, la danse, matisse blue, monet, mattise, matisse cut outs, matisse woman, van gogh, matisse moma, moma, henry matisse, matisse artwork, mattisse, henri matisse painting, matisse nude, matisse goldfish, dance, the dance, le bonheur de vivre, joy of life, the joy of life, matisse joy of life, bonheur de vivre, the joy of life matisse. When political protest is read as epidemic madness, religious ecstasy as nervous disease, and angular dance moves as dark and uncouth, the 'disorder' being described is choreomania.
[Show full text]
André Derain Stoppenbach & Delestre
ANDR É DERAIN ANDRÉ DERAIN STOPPENBACH & DELESTRE 17 Ryder Street St James’s London SW1Y 6PY www.artfrancais.com t. 020 7930 9304 email. [email protected] ANDRÉ DERAIN 1880 – 1954 FROM FAUVISM TO CLASSICISM January 24 – February 21, 2020 WHEN THE FAUVES... SOME MEMORIES BY ANDRÉ DERAIN At the end of July 1895, carrying a drawing prize and the first prize for natural science, I left Chaptal College with no regrets, leaving behind the reputation of a bad student, lazy and disorderly. Having been a brilliant pupil of the Fathers of the Holy Cross, I had never got used to lay education. The teachers, the caretakers, the students all left me with memories which remained more bitter than the worst moments of my military service. The son of Villiers de l’Isle-Adam was in my class. His mother, a very modest and retiring lady in black, waited for him at the end of the day. I had another friend in that sinister place, Linaret. We were the favourites of M. Milhaud, the drawing master, who considered each of us as good as the other. We used to mark our classmates’s drawings and stayed behind a few minutes in the drawing class to put away the casts and the easels. This brought us together in a stronger friendship than students normally enjoy at that sort of school. I left Chaptal and went into an establishment which, by hasty and rarely effective methods, prepared students for the great technical colleges. It was an odd class there, a lot of colonials and architects.
[Show full text]
Matisse's La Danse
zlom2/08 12.11.2008 9:30 Stránka 173 Holger Otten MATISSE’S LA DANSE: ON THE SEMANTICS OF THE SURFACE IN MODERN PAINTING HOLGER OTTEN Since in Modernism inner meaning is doubted or believed lost, the question arises of what an interpretation ignoring the established dialectics of outside and inside and limiting itself to an exclusive surface would look like. Henri Matisse’s ‘decorations’ raise questions about the differences between figure and background, appearance and essence, inside and outside. Instead of reference to depth under the surface, it is density and expansion, concentration and contraction, which determine the occurrence of meaning on the surface. Matisse presents himself as a flâneur of the surface, as if he wanted to show us, in the words of Gilles Deleuze, that ‘[i]t is by following the border, by skirting the surface, that one passes from bodies to the corporeal’. Henri Matisse La Danse. Zur Semantik der Oberfläche in der Malerei der Moderne Wie in der Moderne ein innerer Sinn verloren geglaubt oder fragwürdig geworden ist, so drängt sich die Frage auf, welcher Art eine Sinngebung ist, wenn auf die tradierte Dialektik von außen und innen verzichtet wird und wenn der Raum sich in einer exklusiven Ober- fläche erschöpfen soll. Henri Matisses „Dekorationen“ stellen augenscheinlich die Unter- scheidung von Figur und Grund, Schein und Wesen, außen und innen zur Disposition. Nicht der Verweis auf ein Inneres unter der Oberfläche, nicht Tiefe, sondern Dichte und Ausdehnung, Konzentration und Kontraktion bestimmen das Bedeutungsgeschehen
[Show full text]
Fauvism and Matisse's Bonheur De Vivre
Matisse's Bonheur de vivre Henri Matisse, Bonheur de Vivre (Joy of Life), oil on canvas, 1905-06 (Barnes Foundation) The Joy of Life In 1906, Henri Matisse finished what is often considered his greatest Fauve painting, the Bonheur de vivre, or the “Joy of Life." It is a large-scale painting (nearly 6 feet in height, 8 feet in width), depicting an Arcadian landscape filled with brilliantly colored forest, meadow, sea, and sky and populated by nude figures both at rest and in motion. As with the earlier Fauve canvases, color is responsive only to emotional expression and the formal needs of the canvas, not the realities of nature. The references are many, but in form and date, Bonheur de Vivre is closest to Cézanne’s last great image of bathers. Source URL: http://smarthistory.khanacademy.org/fauvism-matisse.html Saylor URL: http://www.saylor.org/arth111/#9.1 Attributed to: SmartHistory www.saylor.org Page 1 of 5 Paul Cézanne, The Large Bathers, oil on canvas, 1906 (Philadelphia Museum of Art) Matisse and his sources Like Cézanne, Matisse constructs the landscape so that it functions as a stage. In both works trees are planted at the sides and in the far distance, and their upper boughs are spread apart like curtains, highlighting the figures lounging beneath. And like Cézanne, Matisse unifies the figures and the landscape. Cézanne does this by stiffening and tilting his trunk-like figures. In Matisse's work, the serpentine arabesques that define the contours of the women are heavily emphasized, and then reiterated in the curvilinear lines of the trees.
[Show full text]
Comparison of Matisse and Picasso's Treatment of the Human Body
Depiction of the body Matisse vs. Karie Edwards Eric Jones Picasso Chenla Ou Pablo Picasso 1881-1973 Henri Matisse 1869-1954 Henri Matisse and Pablo Picasso were two of the twentieth century's greatest rivals and yet no two artists inspired each other more.-- www.matisse-picasso.org “Expression, for me, does not reside in passions glowing in a human face or manifested by violent movement. The entire arrangement of my picture is expressive; the place occupied by the figures, the empty spaces around them, the proportions, everything has its share.” – Henri Matisse “The different styles I have been using in my art must not be seen as an evolution, or as steps towards an unknown ideal of painting. Everything I have ever made was made for the present and with the hope that it would always remain in the present. I have never had time for the idea of searching. Whenever I wanted to express something, I did so without thinking of the past or the future. I have never made radically different experiments. Whenever I wanted to say something, I said it the way I believed I should. Different themes inevitably require different methods of expression. This does not imply either evolution or progress; it is a matter of following the idea one wants to express and the way in which one wants to express it.” -- Picasso “We must talk to each other as much as we can. When one of us dies, there will be some things the other will never be able to talk of with anyone else.” --Henri Matisse to Pablo Picasso Matisse Time Line 1869: Born in Cateau-Cambrésis, France
[Show full text]
Seurat and Matisse: Influence, Tradition, and the Legacy of Divisionism
Seurat and Matisse: Influence, Tradition, and the Legacy of Divisionism By: Justin Earp Faculty mentor: Seth McCormick Abstract In a historical context, Georges Seurat is and will always be regarded as the quintessential divisionist painter. He launched an artistic revolution, beginning with his work to establish a radically new style to close out the nineteenth century, and continuing into his indirect influence on Henri Matisse, who helped to revolutionize twentieth century art and beyond. Seurat was a diligent worker who left nothing to chance in constructing his work. He studied and grinded through every minute detail of the process, and if it were not for this diligence, we may not have seen neo-impressionism become the juggernaut of a movement that we know it as today. Seurat’s influence on his contemporaries was clear, as he was able to amass a group of artists who adopted his style and artistic ideals. It is difficult to say just how much differently the story of twentieth century art might have been told if Matisse never delved into Seurat’s ideals, but it is safe to say that art history would have been changed. Whatever the reasons for Matisse’s decision to begin the Fauvist movement are largely irrelevant to the fact that Seurat’s influence challenged Matisse to learn more about himself as an artist. His trials and tribulations through divisionism guided him toward an outlet of expression that he had been searching for all along. It helped him find freedom and originality, and many artists who followed would be greatly influenced.
[Show full text]
Timeline Fauvism Henri Matisse Matisse and Picasso
Henri Matisse a biography Timeline Henri-Emile-Benoît Matisse was born in a small town in northern North Africa to explore ornamental arabesques and flat patterns of color. From roughly 1913 to 1917 he France on December 31, 1869. His mother introduced him to experimented with and reacted against Cubism, the leading avant-garde movement in France at the time. painting at age 21 by bringing art supplies to his bedside while he During his early stay in Nice, France, from about 1917 to 1930, his subjects largely focused on the female 1869 Henri Matisse is born on recovered from appendicitis. He promptly gave up pursuing a law figure and his works were infused with bright colors, southern light, and decorative patterns. 1870 December 31 in Le Cateau, France career and moved to Paris to study traditional nineteenth-century In 1930, Matisse traveled to the United States and received a mural commission from Dr. Albert academic painting. He enrolled at the Académie Julian as a student Barnes, the art-collector who established the Barnes Foundation in Pennsylvania. Destined for the main hall of artist William-Adolphe Bouguereau (1825–1905), but struggled of the Foundation and installed in 1933, Matisse’s masterpiece The Dance II is renowned for its simplicity, under the conservative teacher. Matisse continued his studies with flatness, and use of color. In preparation for the mural, he began using the technique of composing with cut- Gustave Moreau (1826–1898) in 1892, a Symbolist painter at the out pieces of colored paper, which soon became his preferred exploratory method.
[Show full text]
Reproductions Supplied by EDRS Are the Best That Can Be Made from the Original Document
DOCUMENT RESUME ED 450 026 SO 032 512 AUTHOR Brenner, Carla TITLE Henri Matisse: Color and Light. Teacher's Guide. School Arts: Looking/Learning. INSTITUTION National Gallery of Art, Washington, DC. PUB DATE 1999-05-00 NOTE 8p.; For other guides, see SO 032 504-511. AVAILABLE FROM National Gallery of Art, 4th and Constitution Avenue, NW, Washington, DC 20565. For full text: http://www.nga.gov/education/teachres.htm. PUB TYPE Guides Classroom Teacher (052) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Art Education; *Art Expression; *Artists; Color; Light; *Painting (Visual Arts); Secondary Education; Teaching Guides IDENTIFIERS Fauvism; *Matisse (Henri) ABSTRACT Henri Matisse painted "Open Window, Collioure" in the summer of 1905, when he and Andre Derain worked together in Collioure (France), a small Mediterranean fishing port near the Spanish border. This teaching guide discusses the painting "Open Window, Collioure" and Matisse's use of light and vibrant color. The guide provides information on Matisse's life and on fauvism. Includes an image of "Open Window, Collioure." Presents several classroom activities. Contains 5 resources. (BT) Reproductions supplied by EDRS are the best that can be made from the original document. NationalGallerycOnti3 SchoolArts: Looking/iLig It/lay/June 9999 Henri Matisse: Color and Light A Guide for Teachers PERMISSION TO REPRODUCE AND DISSEMINATE THIS MATERIAL HAS BEEN GRANTED BY FP614.-La., TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) 1 U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) This document has been reproduced as liereceived from the person or organization originating it. Minor changes have been made to improve reproduction quality.
[Show full text]
"Woman on a Rose Divan": Matisse in the Helen Birch Bartlett Memorial Collection Author(S): Catherine C
The Art Institute of Chicago "Woman before an Aquarium" and "Woman on a Rose Divan": Matisse in the Helen Birch Bartlett Memorial Collection Author(s): Catherine C. Bock and Matisse Source: Art Institute of Chicago Museum Studies, Vol. 12, No. 2, The Helen Birch Bartlett Memorial Collection (1986), pp. 200-221 Published by: The Art Institute of Chicago Stable URL: http://www.jstor.org/stable/4115942 Accessed: 27-04-2017 14:41 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms The Art Institute of Chicago is collaborating with JSTOR to digitize, preserve and extend access to Art Institute of Chicago Museum Studies This content downloaded from 198.40.29.65 on Thu, 27 Apr 2017 14:41:26 UTC All use subject to http://about.jstor.org/terms Woman Before an Aquarium and Woman on a Rose Divan: Matisse in the Helen Birch Bartlett Memorial Collection C A T H E R I N E C. B 0 C K, Professor, Department of Art History and Criticism, The School of The Art Institute of Chicago There are so many things in art, beginning with art itself that one doesn't understand. A painter doesn't see everything he has put in his painting.
[Show full text]
The Sculpture of Matisse [By] Alicia Legg
The sculpture of Matisse [by] Alicia Legg Author Matisse, Henri, 1869-1954 Date 1972 Publisher The Museum of Modern Art ISBN 0870704486 Exhibition URL www.moma.org/calendar/exhibitions/1902 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art THE SCULPTUREOF MATISSE MoMA 995 c.2 I took up sculpture because what interested me in painting was a clarification of my ideas. I changed my method, and worked in clay in order to have a rest from painting where I had done all I could for the time being. That is to say that it was done for the purposes of organ ization, to put order into my feelings, and find a style to suit me. When I found it in sculpture, it helped me in my painting. It ivas alivays in view of a complete possession of my mind, a sort of hierarchy of all my sensations, that I kept working in the hope of finding an ultimate 1 method, henri matisse Alicia Legg THE SCULPTUREOF MATISSE The Museum of Modern Art, New York Trustees of The Museum of Modern Art Copyright © 1972 by The Museum of Modern Art David Rockefeller, Chairman of the Board; Henry Allen Moe. All rights reserved John Hay Whitney, Gardner Cowles, Vice Chairmen; William Library of Congress Catalog Card Number 73-188667 S. Paley, President; James Thrall Soby, Mrs. Bliss Parkinson. ISBN 0-87070-448-6 J.
[Show full text]