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Exploring Color + Light ART HIST RY KIDS

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Matisse’s Morocco The Studiowith Exploring Color + Light ART HIST RY KIDS WEEK 2 Artist quote to ponder “It is not enough to place colors, however beautiful, one beside the other; colors must also react on one another. Otherwise, you have cacophony.” –Henri Matisse July 2020 17 Matisse’s Morocco The Studiowith Exploring Color + Light ART HIST RY KIDS LET’S MEET THE ARTIST Full name: Henri Émile Benoît Matisse Henri Matisse Born: December 31, 1869 Died: November 3, 1954 Henri Matisse didn’t make much art as a child. He grew up and became a law clerk. But everything changed in 1889. At the age of 20, he had appendicitis. During his recovery he was confined to his bed for months. His mother brought him an array of art supplies to help pass the time, and that was it for Matisse! He discovered he had a passion for art, and it wasn’t long before he left the legal world to become an artist. His style changed throughout his career, and he was a leader of the Fauvist movement! He was friends with many famous artists, and he had a complicated relation- ship with Picasso. They respected each other greatly, but were always competing to see who was the better artist. Their friendly rivalry probably made them both better artists! When Picasso was an old man looking back on his life, he declared, "All things considered, there is only Matisse." Matisse spent most of his life in France, but he traveled to a few far away places, including Italy, Germa- ny, and Spain. It was during two trips to North Africa that Matisse transformed the way he approached his art. He took the Fauvist foundation he had created and built it into something more vibrant, full of pattern, and drenched in Morocco’s gorgeous bright light. “Working before a soul-stirring landscape, all I thought of was making my colors sing, without paying any heed to rules and regulations.” July 2020 18 Matisse’s Morocco The Studiowith Exploring Color + Light ART HIST RY KIDS WHY DID MATISSE GO TO MOROCCO? The story behind the trip... Matisse visited Tangier twice. His friend Albert Marquet (also a painter) told Matisse tales of the amazing light and color that he had enjoyed during his visit. Matisse was also intrigued by the paintings Eugene Delacroix made during his trip to Morocco. Matisse decided he must see the color and light of North Africa for himself. He left Marseilles and set off for an artistic adventure of his own in Tangier. He was excited to experience the exotic landscape, the intriguing architecture, and the people and places that were so visually compelling. During his voyage aboard the SS Ridjani in late January, 1912, Matisse wrote to his daughter Marguerite back in Paris: “On a slightly rough sea, but of the purest blue, the ship glides without rocking or pitching. On the left, the horizon is lined with a few clouds; on the right, by the mountains of the Spanish coast. The mountains, which were not very high yesterday, today are elevated enough to be covered with snow. Obviously, the mood was good. We have had a quiet crossing, we have eaten well, slept well. We are arriving at Tangier much earlier than we thought we would, considering the state of the sea, that is to say at one o'clock instead of four." When Matisse arrived, he was met with a torrential downpour of rain that seemed like it would never end! Frustrated with the weather, he couldn’t begin working on his art. He stayed in his hotel and wrote to his friends- messages filled with anxiety about whether he should stay or return home. No one in Tangier had ever seen so much rain... and it lasted for so long! In postcards he sent to friends in France, he called the trip a ‘misadventure.’ Finally, the sun appeared, and Matisse was delighted with the exotic landscapes, architecture, and people that he encountered. He explored the city and the surrounding gardens and painted what he saw. Matisse wanted to see more! He returned to Tangier the following winter, and during the two trips combined he produced 23 paintings and 65 pen and ink draw- ings– half of which were instantly purchased by his two biggest patrons. Much of the Moroccan art currently resides in the collections of the State Hermitage The city of Tangier viewed from the Sultan’s Palace Museum in Leningrad and the State Pushkin Museum (early 20th century). Photo credit: Library of Congress of Fine Arts in Moscow. July 2020 19 Matisse’s Morocco The Studiowith Exploring Color + Light ART HIST RY KIDS ART MOVEMENTS Fauvism 1899-1908 Fauvism was a short-lived art movement, but one that was very important in the scope of art history. Fauvist artists questioned the role that color played in their art. Rather than using color to show the viewer what something looked like in real life, these painters used colors to describe the feeling of a thing, a place, a person, or their own personal relationship with their subject. Color could also be used symbolically. Fauvist art was usually very brightly colored. They cast aside the pale pastels that the Impressionists loved in favor of vibrant hues. Les Fauves means “wild beast” in French... and it was meant as an insult. People who attend- ed the exhibition where this style of art was first displayed recalled hearing laughter when the paintings were seen. But Matisse took it as a compliment. He said, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges toward the thing it loves.” More Fauvist Painters... (1860-1938) (1880-1954) (1876-1958) Marianne von Werefkin André Derain Maurice de Vlaminck Self-Portrait, 1910 Charing Cross Bridge, 1906 Houses at Chatou, 1905 July 2020 20 Matisse’s Morocco The Studiowith Exploring Color + Light ART HIST RY KIDS ELEMENTS OF ART Color Seek the strongest color Matisse is probably most famous for his innovative and “ effect possible... the content bold use of color. Look again at is of no importance. three of this month’s featured paintings. What do you notice about the colors here? Are they realistic? Are When I put a green, it is not they simplified? Perhaps they’ve been changed to produce a greater emotion- “ grass. When I put a blue, it al impact upon the viewer? What kind is not the sky. of emotional impact do you experience when you see these colors together? –Henri Matisse [Dive deeper! Check out this archived lesson where we talked more about Matisse’s use of color.] July 2020 21 Matisse’s Morocco The Studiowith Exploring Color + Light ART HIST RY KIDS ELEMENTS OF ART Value In art, we use the word ‘value’ to describe the relative lightness or darkness of an object. Value gives art contrast and makes the image more powerful than it would be if all of the objects were mid-toned. It’s exciting to see bright white and deep black on the same page and notice the dynamic duality they bring to a work of art. Intense natural light (like the light found in Morocco) provides inspiration and environments that are wonderful for creating artwork. One of the main reasons Matisse traveled to Morocco was to experience the light for himself. He's written about the importance of light in his work... “ A picture must possess a real power to generate light and for a long time now I've been conscious of expressing myself through light or rather in light. –Henri Matisse July 2020 22 Matisse’s Morocco The Studiowith Exploring Color + Light ART HIST RY KIDS LOOKING CLOSER AT THE ART About the art Window at Tangier, 1912 Matisse LOVED to paint the view through windows. This was a recurring theme throughout his life. Paintings like this give us a fun opportunity to have the experience of being on the inside and looking out onto the world beyond the room we’re in. Things to note: The flat perspective- it’s new and modern! The featured North African architecture, including the repetition of the windows. The silhouetted images of people on the winding pathway give us a sense of scale. The importance of the window sill that acts as a divider between inside and out with two flower vases. The vases and the flowers each have their own unique character. Color! Look at the contrast between the deep blue and the light yellow. (And the absence of almost any other colors.) Notice how the blue of the sky merges with the blue of the land. July 2020 23 Matisse’s Morocco The Studiowith Exploring Color + Light ART HIST RY KIDS LOOKING CLOSER AT THE ART About the art Zorah on the Terrace, 1912 It was very difficult for Matisse to find a female model to paint in Morocco. According to local customs, women were not allowed to pose for an artist such as Matisse, or even to uncover their face in his company. Matisse asked for help from local French business owners, and they were able to connect Matisse with Zorah- a 12-year-old girl who was able to model for paintings. Things to note: Did you notice the goldfish? Why are they here? Some people think it’s simply because Matisse loved goldfish and he needed a way to balance the yellow color in the top left corner. Some people have commented that the painting seems unfinished because Matisse didn’t completely paint her hands.
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  • Matisse in Focus the Snail Teachers' Pack

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  • University of Cincinnati

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    UNIVERSITY OF CINCINNATI Date: July 31, 2005______ I, Colleen Richardson , hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Conducting, Wind Emphasis It is entitled: Edgard Varèse and the Visual Avant-Garde: A Comparative Study of Intégrales and Works of Art by Marcel Duchamp This work and its defense approved by: Chair: Rodney K. Winther____________ Kimberly Paice _______________ Terence G. Milligan____________ _____________________________ _______________________________ Edgard Varèse and the Visual Avant-Garde: A Comparative Study of Intégrales and Works of Art by Marcel Duchamp A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Ensembles and Conducting Division of the College-Conservatory of Music 2005 by Colleen Richardson B.M., Brandon University, 1987 M.M., University of Calgary, 2001 Committee Chair: Rodney Winther ABSTRACT Edgard Varèse (1883–1965) had closer affiliations throughout his life with painters and poets than with composers, and his explanations or descriptions of his music resembled those of visual artists describing their own work. Avant-garde visual artists of this period were testing the dimensional limits of their arts by experimenting with perspective and concepts of space and time. In accordance with these artists, Varèse tested the dimensional limits of his music through experimentation with the concept of musical space and the projection of sounds into such space. Varèse composed Intégrales (1925) with these goals in mind after extended contact with artists from the Arensberg circle. Although more scholars are looking into Varèse’s artistic affiliations for insight into his compositional approach, to date my research has uncovered no detailed comparisons between specific visual works of art and the composer’s Intégrales.

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  • Playing with Paper

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  • Rhythm and Color in Art As Influenced by Jazz

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  • A STUDY of the USE of COLOR in the ART of HENRY I11atisse

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    A STUDY OF THE USE OF COLOR IN THE ART OF HENRY i11ATISSE, HTH SPECIFIC ATTil~TION TO THB ';VORK OF 1908-1917 A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts by Sally Iralu ~~erett, B.A. 1be Ohio State University 1964 Approved by History TABLE CF CONTENTS Page LIST OF ILLUSTRATIONS • . • • iii INTRODUCTION. 1 Chapter I. MATISSE'S INTEREST IN COLOR AS PART OF HIS ARTISTIC NIILI£U • • • • • . • • • • • • • • • • 3 His General Stylistic Development. 4 His Contacts With Other Artists. 8 II. THE MECHANICS OF lv!ATISSt.; 1S USE OF COLOH. •• 13 Neo-Impressionist Theory • • 14 Matisse 1 s "Color Theory" • • ••• 19 III. ANALYSES OF S~IBCTED ilOPJ\:S FROM 1906-1917 •• 30 Transitional 1Jorks of 1906 and 1907. • 30 The Paintings of 1908, 1909, and 1910 •• 35 The Paintings of 1911 .•.••• 42 'I'he Paintings of 1916 and 1917 . so CONCLUSION •• . 59 ILLUSTRATIONS • • 61 BIBLIOGRAPHY. • . 75 ii LIST OF ILLUSTRATIONS Plate Onen Window (1905) • • • . I Woman Vii th A Hat (1906}. II Young Sailor II (1906) . III Pink Onions (1906) • • • . rv Brook Vfi th Aloes (1907). v Blue Nude (1907) . VI Girl Nith a Black Cat (1910) . VII Goldfish and Sculpture (1911). VIII Still Life Vii th Goldfish (19ll) •• . IX Blue ~"rind ow ( 1911) • • • . x ~lladarne Matisse ( 1913) • • . XI i,1oroccans (1916) •••• . XII Piano Lesson (1916 or 1917). XIII iii INTRODUCTION In the painting of Henry Matisse (1869-1917), color is an essential factor. His awareness of the functions of color has a major place in critical studies of his art. Matisse was concerned with the problems of color in pictorial composition, and he was aware of the potentiality of color as an autonomous pictorial element.
  • Henri Matisse : 64 Paintings [By] Lawrence Gowing

    Henri Matisse : 64 Paintings [By] Lawrence Gowing

    Henri Matisse : 64 paintings [by] Lawrence Gowing Date 1966 Publisher Distributed by Doubleday Exhibition URL www.moma.org/calendar/exhibitions/1867 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 matisse 64 pages, 67 illustrations (8 in color) $4.95 HENRI MATISSE: 64 PAINTINGS by Lawrence Gowing In this mid-century view of the painting of Henri Matisse, Lawrence Gowing, Keeper of British Painting at the Tate Gallery, London, examines the connections between the successive stages and styles of the artist's work. He bril liantly describes masterpiece after masterpiece, so that even the reader familiar with these paintings will see in each of them more than ever before; and he traces perceptively and boldly the influences that this great pioneer has had upon modern art throughout the world. Although Matisse was as well grounded as any old master in the traditions of visual art antecedent to his own, nevertheless from the heights of his imagination he looked forward with eagle eye to present-day enthusiasms and innovations. Altogether enchanted with the world that he chose to depict—cubicles of interior space, windows effus ing Mediterranean sunshine, beautiful women in repose, flowers and fruit, beflowered wallpaper and bright fabrics —he took paint itself as his principal subject matter: razor- sharp lineaments, flat colors that generate light and energy through thrilling combinations and evocative contrasts. An indefatigable worker, Matisse said, "Work is paradise." Sketch after sketch he evaluated and discarded; detail after detail he practiced to perfection, aiming at truth and power.
  • The Music Phase of Modern Painting

    The Music Phase of Modern Painting

    THE MUSICAL PHASE OF MODEHN PAINTING. The MUSICAL PHASE of MODERN PAINTING A Thesis presented for the DIPLOMAINFINEAR S (HONOURS) in the Unipersity of Canterbury CHRISTCHURCH New Zealand by ,... J. N. MANE rg6g To ss. Cecilia and Luke. For the joy of ear and eye, For the be art and brain's delight, li'or the mystic harmony I! inking sense to sound and sight: * "Today a synthesis between the worlds of sound and appear­ ance seems to be a possibil i ·ty. "--Paul Klee. * Sacraments and other rites, The English Hymnal, no. 309. Preface i Introduction iii 1. Variations on a Theme 2 The Interfusion of Modern Painting and Music 3 Impressionism in Painting and Music Pos Impressionism: 'l1he Flusical ase 5 The Symbolist Decade: c.1890-1900 lJ: 1. 6 Fauvism and Music 55 7 Guld.sm and Music 61. H Orpldsm and Music 72 9 li'uturism and Music 77 10 ~xpressionism: Painting and Music 83 11 Dada 97 Coda 106 Append Notes on "Colour MusicH Bibliography -i- PREFACE. Painting and music interest me much. They a.l'e the twin summits of my artistic ambitions. In this thesis, I have tried to render intelligible to myself, in a very elementary way, the relationship between modern painting and musio, and the develornnent of painting towards the condition of music. rrhis is not to deny that other valid parallels may be drawn between music and, say, sculpture, architecture, poetry, or lrinetic art--such relationships do, of course, exis·t--but they do not seem to have been to each other's evolution as painting and music use the past tense advisedly because I cannot discuss tl:~ any semblance of competence developments in the arts of the present day, nor discern in them ·the trends likely to influence the arts of the future.