A New Country Cut-Outs

Total Page:16

File Type:pdf, Size:1020Kb

A New Country Cut-Outs 6. A ROOM OF ONE’S OWN. VENCE, represented for Matisse the ‘summation of a CATALOGUE whole life’s work’. He designed the entire decor TEAM THE LAST INTERIORS of the chapel, using his process of gouache CENTRE POMPIDOU HENRI MATISSE. A new country cut-outs. With the reflection of the brightly- Edited by Aurélie Verdier coloured stained glass on the black and white CURATOR Co-published by Centre Pompidou and the Public designs of the wall tiles, at the end of his life Aurélie Verdier, Curator of Modern Collections, Agency for the Management of the Casa Natal of Pablo Ruiz Picasso and Other Museum and HENRI MATISSE Matisse found a final balance between drawing Mnam-Cci Cultural Facilities, Málaga City Council and colour. ASSISTANT CURATOR 80 p., 66 ill. Anna Hiddleston Design : Xavi Rubiras for La Nevera Comunicación A NEW COUNTRY COLLECTION MANAGER Aurélie Sahuqué 6 MARCH – 9 JUNE 2019 ‘The importance of an artist is to be INFORMATION REGISTRARS measured by the quantity of new Marion Julien OPENING HOURS signs which he has introduced to the Mélissa Etave In the course of over sixty years, Henri This exhibition showcases the experimental 9.30 a.m. to 8.00 p.m., every day language of art.’ ART RESTAURATION Ticket offices close at 7:30 p.m. Matisse (1869-1954) produced a body of side of his work and retraces the path, The museum is closed on Tuesdays (except work that was to have a profound impact on through six chronological sequences, of this Henri Matisse, 1942 Sophie Spalek holidays and days before holidays), 1 January and the modern perspective and would establish key artist of modernity. From his early days 25 December him as one of the major artists of the 20th in the 1900s, in the shadow of his masters, CENTRE POMPIDOU MÁLAGA century. He expressed his art through a via the solitary and radical path of the period PRICES Public Agency for the Management of the Casa Entry to permanent exhibitions: variety of techniques which he explored 1904-1917, the ‘box of light’ of the Nice Natal of Pablo Ruiz Picasso and Other Museum €7, concessions: €4 tirelessly; painting, drawing, sculpture, years, to the modern language of the 1930s and Cultural Facilities, Málaga City Council Entry to temporary exhibitions: illustrated books and the remarkable and the interiors of Vence and the Chapel of €4, concessions: €2.50 invention of drawing in colour, with the the Rosary, Henri Matisse’s career is marked COLLECTION MANAGER Entry to permanent and temporary exhibitions: gouache cut-outs he created towards the by masterpieces, those new signs which the Elena Robles García €9, concessions: €5.50 Grand intérieur rouge [Large Red Interior], spring 1948 end of his life, and which were so rich in artist aspired to and which have become ARCHITECTURE AND SCENOGRAPHY Oil on canvas, 146 × 97 cm CONTACT artistic consequences. universal today. State purchase, 1950. AM 2964 P Francisco Bocanegra Pasaje doctor Carrillo Casaux, s/n (Muelle Uno, Puerto de Málaga) During the war years, Matisse moved to Vence GRAPHIC DESIGN ‘I have several paintings in Enrique García Puche T.(+34) 951 926 200 in the hills above Nice, and settled into Le [email protected] progress. I am as curious about Rêve, a villa surrounded by a lush garden. He CONSERVATION [email protected] colour as one would be visiting a survived a serious surgical operation in 1941. Paula Coarasa Lobato new country, because I have never Filled with new energy, he worked extensively Laura Gaviño Fernández concentrated so closely on colour Elisa Quiles Faz and experimented with various techniques, centrepompidou-malaga.eu expression. Up to now I have waited in particular paper cut-outs which allowed INSTALLATION at the gates of the temple.’ him to ‘draw directly in colour’. Between 1946 Installation team of the Agency and 1948, he undertook his last great series Henri Matisse, 1947 CORPORATE IDENTITY of paintings, known as the Vence Interiors, Gloria Rueda Chaves which combined still life, landscape and studio scenes. The relationships between line © Succession H. Matisse/ VEGAP/ 2019 and colour run through the paintings from this period, creating a space which was now fully unified. On his return to Nice in 1949, he immersed himself in a major commission, the Chapel of the Rosary in Vence, which knowledge of the Orient, his trips to Algeria and the 1920s saw a lull in his inspiration. As At this time, Matisse also began to have the 1. WITH AND AGAINST THE MASTERS. 2. ‘SIMPLER MEANS’. with his models as the ‘source of [his] energy’. Morocco and the craft objects he brought back he would do periodically, he reassessed his successive steps of his paintings photographed, As of 1914, he used black in abundance, which EARLY DAYS AND BREAKAWAYS THE FAUVE AND ‘PRIMITIVE’ with him. Through this research, he eliminated knowledge. to better analyse them and enrich his visual he considered to be a colour in its own right. the duality between figure and background and design. This form of documentation also (1900-1903) PERIOD (1905-1909) This vibrant hue, the famous ‘black light’, affirmed that all the elements of a painting must reveals the long and complex creative process contribute to its expressivity. dominated some of his most radical portraits. 5. MODERNITIES. THE 1930s of his paintings, as well as the efforts which In the winter of 1917, he discovered Nice led to the simplification of strokes and and the Mediterranean light, a revelation for composition. this native of northern France. He began to 3. THE CHOICE OF RADICALITY. divide his time between Nice and Issy-les- PORTRAITS AND FIGURES (1909-1917) Moulineaux, near Paris. A new period began at the end of the war in 1918, corresponding to a sort of truce after more than a decade of radical experimentation. ‘I worked for years […] so that people could say: Matisse – there´s nothing to it…!’ 4. NICE, INTERIORS, Henri Matisse, 1943 FIGURES (1917-1929) Étude de deux visages [Study of Two Faces], [1906-1907] Graphite lead on paper, 21,3 × 18,2 cm Donated by Marie Matisse, 1984. AM 1984-62 Madeleine II, [1903] Lost wax bronze casting, dark patina, 59,5 × 18,5 × 20 cm Accepted in lieu of tax from Pierre Matisse, 1991. AM 1991-284 In 1904, Matisse was attracted for a time by Nu rose assis [Seated Pink Nude], [April 1935 / 1936] Oil on canvas, 92 × 73 cm Paul Signac’s divisionism, but he soon saw the After a few years spent as a notary’s clerk in his Accepted in lieu of tax, 2001. AM 2001-215 limits to this pictorial method which prevented native northern France, Matisse defied paternal the communion between drawing and colour. authority to live his true vocation as a painter. In His exploration of colour reached a decisive 1930 was marked by a decline in the volume of 1891, at the age of twenty-two, he moved to Paris Odalisque à la culotte rouge [Odalisque with Red Trousers], [autumn 1921] moment in the summer of 1905, during his Oil on canvas, 65,3 × 92,3 × 2,5 cm his work and a desire to travel. Matisse visited and embarked on a long artistic apprenticeship. State purchase. Attribution, 1923. LUX 0.85 P stay in Collioure, near the Spanish border. In New York, then Tahiti, drawing new energy from The academic education he received at the Académie Julian and the École des Arts the same year, his work was exhibited at the these locations. From 1931 to 1933, he devoted Salon d’Automne, alongside that of Derain, himself to drawing, prints for book illustrations Décoratifs was too rigid to his liking. It was Beginning with his stay in Nice in the first Gustave Moreau’s workshop at the École des Marquet and Manguin. The young group of and above all, a commission from the American Le Violoniste à la fenêtre [Violinist at the Window], [spring 1918] half of 1918, Matisse’s painting underwent beaux-arts that would allow him to forge his own painters, known as the ‘Fauves’, caused a doctor Alfred Barnes for a mural painting in Oil on canvas, 150 × 98 cm a profound change, with a renewed interest identity. During those years of training, Matisse scandal with its ‘orgy of pure colours’. Despite Purchase, 1975. AM 1975-260 his house in Merion, Pennsylvania. It was to be in form and the influence of the soft light continued to copy the masters of the Louvre, a slating in the press, Matisse took his radical La Danse [The Dance], in which Matisse would pictorial experiments even further. In the In the portraits he painted, drew or sculpted in his Nice workshop. The female body while at the same time, the freedom encouraged use his paper cut-out process for the first time. milestone years 1904-1906, he moved away during this period, Matisse pursued his quest was an endlessly recurring theme in his by Moreau fed his stubborn and rebellious His studies for this ‘architectural painting’ were nature. He was influenced by Turner’s and Van from the imitation of nature to concentrate for an expressive line and consolidated the 1920s work, as was the seminal motif of the based on the balance of its composition, the Gogh’s use of colour and accentuated light, on the expression of feeling. The discovery of analytical aspect of his work. Matisse’s primary window. Matisse transformed his models arabesque line, extreme stylisation of bodies and as of 1899, Cézanne’s work finally freed African statuary art influenced this shift and subject, the one he came back to time and again into Oriental odalisques, adorned with and the relationship between pink and blue him of his last academic instincts.
Recommended publications
  • 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]
  • Henri Matisse, Textile Artist by Susanna Marie Kuehl
    HENRI MATISSE, TEXTILE ARTIST COSTUMES DESIGNED FOR THE BALLETS RUSSES PRODUCTION OF LE CHANT DU ROSSIGNOL, 1919–1920 Susanna Marie Kuehl Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2011 ©2011 Susanna Marie Kuehl All Rights Reserved To Marie Muelle and the anonymous fabricators of Le Chant du Rossignol TABLE OF CONTENTS Page Acknowledgements . ii List of Figures . iv Chapter One: Introduction: The Costumes as Matisse’s ‘Best Spokesman . 1 Chapter Two: Where Matisse’s Art Meets Textiles, Dance, Music, and Theater . 15 Chapter Three: Expression through Color, Movement in a Line, and Abstraction as Decoration . 41 Chapter Four: Matisse’s Interpretation of the Orient . 65 Chapter Five: Conclusion: The Textile Continuum . 92 Appendices . 106 Notes . 113 Bibliography . 134 Figures . 142 i ACKNOWLEDGEMENTS As in all scholarly projects, it is the work of not just one person, but the support of many. Just as Matisse created alongside Diaghilev, Stravinsky, Massine, and Muelle, there are numerous players that contributed to this thesis. First and foremost, I want to thank my thesis advisor Dr. Heidi Näsström Evans for her continual commitment to this project and her knowledgeable guidance from its conception to completion. Julia Burke, Textile Conservator at the National Gallery of Art in Washington DC, was instrumental to gaining not only access to the costumes for observation and photography, but her energetic devotion and expertise in the subject of textiles within the realm of fine arts served as an immeasurable inspiration.
    [Show full text]
  • Exhibition Leaflet
    Alongside the Pierre Matisse exhibition, discover 16 Henri Matisse masterpieces from the great Nahmad collection PRATICAL INFORMATION VILLA – LEVEL 0 (Jeune fi lle à la mauresque, robe verte) or the French Jacques Sobies (Nu au drapé), Georges ACCESS ACTIVITIES There are only a handful of collections that Renand (Nu au drapé; Jeune femme assise en 164, avenue des Arènes de Cimiez - 06000 Nice Guided tours of the museum and the exhibi- refl ect the full breadth of Henri Matisse’s practice robe grise), Marcel Kapferer (La Leçon de piano, Bus lines: 5, 16, 18, 33, 40, 70 tion, but also interactive tours for families and in existence ! Jeune fi lle à la mauresque, robe verte) and Henri Bus stop: Arènes / Musée Matisse workshops for children and adults. Canonne (Intérieur – porte ouverte). Portrait au The Musée Matisse is privileged to welcome manteau bleu, Nu aux jambes croisées and Fi- ________________________________________ Information : 16 paintings from the David and Ezra Nahmad gure assise et le torse grec belonged to the artist collection. These great art dealers and collectors himself then to his son Jean before he parted OPENING HOURS +33(0)4 93 81 08 08 have built this exceptional collection over the with them. Open daily except on Tuesdays [email protected] years. We would like to pay tribute to their Open from 10 am to 5 pm from November 1st musee-matisse-nice.org continued generosity in lending artworks to many This set of paintings has its own story and to April 30th French public institutions. raison d’être and is part of a larger collection of Open from 10 am to 6 pm from May 2nd ________________________________________ modern and impressionist artworks which could to October 31st These paintings, painted in Nice or in Vence, be the foundation of a formidable museum in its Musée Matisse Nice is on Instagram ! are shown alongside the museum’s perma- own right.
    [Show full text]
  • The Presence of Death in Gustave Moreau's Paintings1
    The Presence of Death in Gustave Moreau’s Paintings1 Zühre İndirkaş Université d’Istanbul THIS WORK WAS SUPPORTED BY THE RESEARCH PROJECT COORDINATION Synergies UNIT OF STANBUL NIVERSITY ROJECT NUMBER I U . P : 4585 Turquie Résumé: La présence de la mort dans les oeuvres de Gustave Moreau L’objectif de cet article est d’étudier la présence de la mort dans les 69-78 n° 3 - 2010 pp. oeuvres de Gustave Moreau. Même si Gustave Moreau est considéré parmi les représentants du courant symboliste dans la peinture française du 19e siècle, de nos jours, les historiens d’art le considèrent comme un peintre d’histoire (Peinture d’Histoire). Dans les deux contextes, les images sont les reflets de ses pensées, son imagination et son caractère émotionnel.Cette situation lui permet de réfléchir sur la mort et la vie étérnelle pour les refléter dans ses oeuvres. Mots-clés : Gustave Moreau, la mort, mythologie, Oedipe, Sphinx, peinture d’histoire Özet: Gustave Moreau’nun Yapıtlarında Ölüm Gustave Moreau 19. Yüzyıl Fransız resminde sembolist akımın temsilcileri arasında yer almışsa da günümüz sanat tarihçileri tarafından tarih ressamı (Peinture d’Histoire) olarak değerlendirilir. Her iki bağlamda da Moreau’nun yapıtlarında yer alan görsel imgeler; onun inançlarının, düşüncelerinin, imgeleminin ve huzursuz kişilik yapısının yansımalarıdır. Bu durum onun sıklıkla ölüm ve ölümsüzlük üzerinde düşünmesine ve bunu yapıtlarına yansıtmasına neden olmuştur. “Oidipus ve Sfenks”, “Yolcu (Oidipus Yolcu; Ölümün Karşısında Eşitlik)”, “Genç Adam ve Ölüm”, “Ölü Şairi Taşıyan Kentaur” ölüm kavramının belirgin olarak ortaya çıktığı yapıtlardır. Özellikle “Ölü Lirler” sanatçının ve sanatının bir ağıtı (requiem) olarak nitelendirilir. Öte yandan “Ölüm Turnuvanın Galibini Taçlandırıyor”da ölüm tümüyle tuale egemendir.
    [Show full text]
  • Moreau's Materiality: Polymorphic Subjects, Degeneration, and Physicality Mary C
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Moreau's Materiality: Polymorphic Subjects, Degeneration, and Physicality Mary C. Slavkin Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE MOREAU’S MATERIALITY: POLYMORPHIC SUBJECTS, DEGENERATION, AND PHYSICALITY By MARY C. SLAVKIN A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Masters of Arts Degree Awarded: Spring Semester, 2009 The Members of the Committee approve the Thesis of Mary Slavkin defended on March 30, 2009. ___________________________ Lauren Weingarden Professor Directing Thesis ___________________________ Richard Emmerson Committee Member ___________________________ Adam Jolles Committee Member Approved: _______________________________________________ Richard Emmerson, Chair, Department of Art History _______________________________________________ Sally McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above named committee members. ii For David. Thanks for all the tea. iii TABLE OF CONTENTS LIST OF FIGURES..........................................................................................................v ABSTRACT.....................................................................................................................ix CHAPTER 1: Introduction...............................................................................................1
    [Show full text]
  • PRESS RELEASE Gustave Moreau Museum 14, Rue De La Rochefoucauld 75009 Paris Tel: 01 48 74 38 50 Facebook
    PRESS RELEASE Street Art at the Gustave Moreau Museum: Codex invites himself into Gustave’s home. Hybrid bestiaries The Street Artist, Codex Urbanus, will take up residence in the Gustave Moreau Museum for the Long Night of Museums. From 18 to 30 May 2016, his own bestiary-themed works will meet those of Gustave Moreau. From 7pm to 11pm on Saturday 21 May the artist will also present a live performance. Codex Urbanus, Lernean Hydra © N.Adet Guest artist: Codex Urbanus Codex Urbanus was originally the title of a Street Art project, over a series of nights an outlaw bestiary was painted on the walls of Paris’ 18th arrondissement. This urban manuscript – or Codex Urbanus in Latin – presented a host of strange chimera and fantastical animals and brought the artist to the attention of the general public. Consequently he adopted the title as his artist’s name. Codex Urbanus shares Gustave Moreau’s taste for dreams, imagination and Symbolism. He is part of a community of incorrigible dreamers who exist on the margins of the contemporary art scene, portraying timeless legends and imagined creatures in their own tattoo art, cartoon strips and, of course, urban art. This movement is filled with a heartfelt desire to return to the Gustave Moreau Museum media of drawing and painting. Its graffiti and street artists 14, rue de la Rochefoucauld provide us with uninhibited views of monsters, imagined 75009 Paris cities and heroic characters displayed across the Tel: 01 48 74 38 50 wastelands and unused lots of the world’s urban centres. www.musee-moreau.fr It is a kind of Street Symbolism which follows naturally in Facebook: Musée Gustave the vein of Moreau’s work, reuniting artists with their Moreau imagination through the use of new media: in the streets, Twitter: @MuseeMoreau spray can and marker pen have now replaced oil paint and artist’s palette.
    [Show full text]
  • Matisse in Focus the Snail Teachers' Pack
    Works to Know by Heart Matisse in Focus The Snail Teachers’ Pack HENRI MATISSE THE SNAIL 1953 2 Teachers Pack – Constellations HENRI MATISSE THE SNAIL 1953 ‘An artist must possess Nature. He must the strong outlines and flat planes of Gauguin’s with painting, but also sculpture, lithographs, identify himself with her rhythm, by efforts paintings and the colour theories of Paul ceramics, textiles and collage. that will prepare the mastery which will later Signac . During this period there was also enable him to express himself in his own a shared interest amongst contemporary In his later years, confined to a wheelchair due language.’ artists in Japanese prints, African and Oceanic to ill health, Matisse invented new methods carvings and crafts. In an attempt to break for making pictures with coloured paper and HENRI MATISSE (1869-1954) free from what he felt were the restrictive scissors. His friend and great rival, Pablo traditions of Western art, Matisse abandoned Picasso later claimed that the Frenchman was Matisse realised that he was destined to be an fixed point perspective and modelling with his only serious competitor in 20th century art: artist when his mother bought him a paintbox shading as he allowed colour and line to break ‘All things considered, there is only Matisse.’ during a period of convalescence from free, taking on a life of their own. Rather than appendicitis in 1889. He later recalled, ‘From attempting to capture a subject naturalistically, THE SNAIL 1953 the moment I held the box of colours in my the artist’s aim was to evoke his own sensual hands, I knew this was my life.
    [Show full text]
  • Nushagak, Alaska, 1906
    is exhibition explores an encounter between French modernist painter, Henri Matisse (1869–1954), and the spiritual universe of Arctic peoples. Seen through the windows of his mask-like drawings, which were modeled on photographs of Inuit and Kalaalliit people, we nd an expansive Arctic reality. Matisse’s introduction to the indigenous arts of Alaska — which came through his family — struck a deep chord in him, and resonated in his own confrontations with mortality and legacy. In this exhibition, we present the drawings and prints that Matisse generated as he explored portraits of Arctic people. ese were the result of an invitation in 1947 by his daughter, Marguerite, to illustrate a book written by her husband Georges Duthuit, titled Une fête en Cimmérie. Alaskan masks from Duthuit’s collection, as well as the books and photographs that served as source materials for Matisse, are also included. Additionally, we present a series of aquatints Matisse created and referred to as “masks” and works relating to the creation of the Chapel of the Rosary in Vence, France, all of which were made contemporaneously with the portraits of Arctic people. In parallel, this exhibition includes a comprehensive selection of dance masks from the Central Yup’ik people of Alaska, who created the masks so admired by Matisse and other artists. eir presentation here is an historic occasion. Created originally in pairs and related groups, many traditional Yup’ik masks were separated early in their collecting history. We present an unprecedented number of reunited masks and dance objects and, for the rst time, identify some of the artists who made them.
    [Show full text]
  • The Joseph Winterbotham Collection Author(S): Margherita Andreotti Source: Art Institute of Chicago Museum Studies, Vol
    The Art Institute of Chicago The Joseph Winterbotham Collection Author(s): Margherita Andreotti Source: Art Institute of Chicago Museum Studies, Vol. 20, No. 2, The Joseph Winterbotham Collection at The Art Institute of Chicago (1994), pp. 111-181+189-192 Published by: The Art Institute of Chicago Stable URL: https://www.jstor.org/stable/4112960 Accessed: 09-04-2019 15:44 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 https://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 Tue, 09 Apr 2019 15:44:09 UTC All use subject to https://about.jstor.org/terms The Joseph Winterbotham Collection MARGHERITA ANDRREOTTI Associate Editor The Art Institute of Chicago M A R C C H A G A LL . The Praying Jew, 1923 copy of a 1914 work (pp. 148-49). This content downloaded from 198.40.29.65 on Tue, 09 Apr 2019 15:44:09 UTC All use subject to https://about.jstor.org/terms The Joseph Winterbotham Collection AT THE ART INSTITUTE OF CHICAGO This content downloaded from 198.40.29.65 on Tue, 09 Apr 2019 15:44:09 UTC All use subject to https://about.jstor.org/terms GUSTAVE COURBET (French, 1819-1877) Reverie (Portrait of Gabrielle Borreau), 1862 Oil on paper mounted on canvas; 63.5 x 77 cm Signed and dated, lower left: G.
    [Show full text]
  • Sobre El Proceso. La Verdure, 1935-1943 Un Cuadro De Henri Matisse
    Sobre el proceso. La Verdure, 1935-1943 Un cuadro de Henri Matisse Magdalena Jaume Adrover Aquesta tesi doctoral està subjecta a la llicència Reconeixement- CompartIgual 3.0. Espanya de Creative Commons. Esta tesis doctoral está sujeta a la licencia Reconocimiento - CompartirIgual 3.0. España de Creative Commons. This doctoral thesis is licensed under the Creative Commons Attribution-ShareAlike 3.0. Spain License. Sobre el proceso. La Verdure, 1935-1943 MATISSE. La Verdure Mallorca, mayo 2013 Tesis doctoral, Magdalena Jaume. Director, Lino Cabezas. SOBRE EL PROCESO LA VERDURE, 1935-1943 UN CUADRO DE HENRI MATISSE Tesis doctoral, Magdalena Jaume. Director, Lino Cabezas Gelabert. Programa de Doctorado: Espacio Público y Regeneración Urbana: Arte, Teoría y Conservación del Patrimonio. Línea de investigación: Historia y teoría. Facultad de Bellas Artes, Universidad de Barcelona. Mallorca, mayo de 2013. 2 3 Por el momento, digamos que el creador de un cuadro u otro artefacto histórico es un hombre que aborda un problema cuya solución concreta y termi- nada es ese cuadro. Para entenderlo, intentaremos reconstruir tanto el problema específico para cuya solución estaba diseñado, como las circunstancias específicas a partir de las cuales lo hubo aborda- do. Esta reconstrucción no es idéntica a la que el crea- dor experimentó en su interior: vamos a simplificarla y limitarla a lo conceptualizable, aunque también es- taremos operando en una relación recíproca con el cuadro propiamente dicho, que aporta, entre otras cosas, modos de percibir y sentir. Nosotros vamos a tratar de relaciones –relaciones de los problemas con sus soluciones, de ambos con sus circunstan- cias, de nuestras construcciones mentales concep- tualizadas con un cuadro cubierto por una descrip- ción, y de una descripción con un cuadro.
    [Show full text]
  • 01 Le Nord233 2010:Mise En Page 1
    À QUESNOY-SUR-DEÛLE FÉVRIER 2010 - N° 233 Marie-Odile Smets ÉDITION MÉTROPOLE fait ses yaourts LE MAGAZINE DE VOTRE DÉPARTEMENT DOSSIER ACTUS BALADE ON AVANCE ! Le Nord Ce que nous Citytak, le bon au Salon apprend plan pour les Protéger de l’agriculture la terre non-voyants les enfants, une priorité du Département du Nord LA PHOTO DU MOIS Du vrai cross à Roubaix ! Un ciel bleu, des supporters heureux... L’épreuve de la coupe du monde de cyclo cross a enthousiasmé un public venu nombreux le 17 janvier dernier au vélodrome de Roubaix. C’est le Tchèque Zdenek Stybar qui a remporté l’épreuve, devant les Belges traditionnellement favoris de la discipline. Du très beau sport ! Photo prise au vélodrome à Roubaix, le 17 janvier , à 12 h 53 par philippe Houzé. Magazine d’information du Conseil général du Nord - 2, rue Jacquemars- SOMMAIRE FÉVRIER Giélée, 59047 Lille Cedex Tél. 03 59 73 83 98 ACTUS DOSSIER p. 12 E-mail : [email protected] À Cantin, les bouchons vont sauter durablement Protéger les enfants Site Internet du Conseil général du Nord : www.cg59.fr 6 La protection de l’enfance est Directrice de la publication: Évelyne Duhaut-Courpron. ON AVANCE ! aujourd’hui placée sous le signe Directeur-adjoint de la Communication: Hubert Loppinet. Citytak, le bon plan pour les de la prévention et de l’accom- Rédactrice en chef: Hélène Fanchini. non-voyants 9 pagnement des familles. Rédaction: Laurence Blondel, Valérie Dassonville (Valenciennois), Antoine Platteel (Douaisis), Franck Périgny, Alexandra Pigny (Dunkerquois), Françoise Au naturel Appel pour les mineurs Poiret-Colonge (Avesnois), Arnaud Raes (Cambrésis).
    [Show full text]
  • Dépliant Matisse
    On the French Riviera, retracing Matisse’s footsteps matisse “When I realized I would see that light every morning, I could not believe my happiness.” Matisse and the Côte d’Azur, Lantosque the alchemy of a passion Utelle When the 48-year-old Henri Matisse discovered Nice, the Duranus encounter felt like a revelation. The quality of the daylight and the sparkling Mediterranean awoke such echoes in the master colourist Coaraze that he remained loyal and unshakeably devoted to the Côte d’Azur Levens ever after. The painter was to live almost 40 years in the region La Roquette- around Nice, and drew from it an inspiration which is to be seen sur-Var in work of great sensitivity, dedicated to meaning and beauty. Saint-Martin- du-Var Saint-Blaise From Nice, where he lived for 27 years, to Eze, Saint-Jean-Cap- Castagniers Tourrette-Levens Carros Ferrat, Villefranche-sur-Mer, Beaulieu-sur-Mer, and Cagnes-sur- Aspremont Mer, not forgetting his encounters with Renoir in retirement at Colomars Falicon Vence during the war, Matisse set his flamboyant imprint on this Saint-André- La Trinité Saint-Jeannet de-la- light-filled and richly coloured land. Vence Roche Eze La Gaude Villefranche-sur-Mer Cap d'Ail e i h Nice Côte d’Azur invites you to inspect the unparalleled riches of p a r Beaulieu-sur-Mer g i d E our land as you review this Modern Master’s inspired career, y Nice B Saint-Laurent- teeming with creativity. du-Var Saint-Jean-Cap-Ferrat Cagnes-sur-Mer Cover “When I realized I would see that light every morning, I could not believe my happiness.”
    [Show full text]