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AVAILABLE from DOCUMENT RESUME SO 026 709 Matisse in Morocco: the Paintings and Drawings, 1912-1913. Teachers' Packet. a USA/USS DOCUMENT RESUME ED 405 256 SO 026 709 AUTHOR Powe, Faye TITLE Matisse in Morocco: The Paintings and Drawings, 1912-1913. Teachers' Packet. A USA/USSR Joint Project. INSTITUTION National Gallery of Art, Washington, D.C. PUB DATE 90 NOTE 21p.; Eight color slides not available from EDRS. AVAILABLE FROM National Gallery of Art, Department of Education Resources, Extension Programs Section, Education Division, 4th and Constitution Avenue, N.W., Washington, DC 20565 (free loan). PUB TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Art; Art Criticism; *Art Education; *Art History; *Artists; Cultural Context; Elementary Secondary Education; Foreign Countries; Interdisciplinary Approach; Non Western Civilization; Painting (Visual Arts); Western Civilization IDENTIFIERS Fauvism; *Matisse (Henri); *Morocco ABSTRACT Henri Matisse (1869-1954) is recognized as one of the great artists of the twentieth century. The paintings and drawings that he executed in Morocco in 1912 and 1913 reveal a pivotal stage in the artist's career. His Moroccan paintings have been compared to an interior journey taking place side by side with the outer one. This packet includes background information on Matisse's life and travels; eight slide images that also are reproduced in black and white in the guide; descriptions of the exemplars and suggested student activities; selected references; and an abbreviated guide to Morocco with a brief glossary of Islamic and Moroccan terms. (MM) *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** MATISSE IN MOROCCO The Paintings and Drawings, 1912-1913 PERMISSION TO REPRODUCE AND DISSEMINATE THIS MATERIAL HAS BEEN GRANTED BY F: P. St-n14-11 TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) re U.S. DEPARTMENT OF EDUCPraDN Office of Educational Research and Improvement EDUCATIONAL RESOURCES INFORMATION )CENTER (ERIC) This document has been reproduced as eceived from the person or organization riginating it. Minor changes have been made to improve reproduction quality. Points of view or opinions stated in this document do not necessarily represent official OERI position or policy. TEACHERS' PACKET Education Division National Gallery of Art, Washington BEST COPY AVAILABLE 2 , MATISSE IN MOROCCO The Paintings and Drawings, 1912-1913 a USAIUSSR Joint Project TO THE TEACHER Henri Matisse (1869-1954) is recognized as one of the great artists of the twentieth century. The paintings and drawings he executed in Morocco in 1912 and 1913 (almost all of which were on exhibition at the National Gallery of Art from March 18 through June 3, 1990) reveal a pivotal stage in the artist's career. His Moroccan paintings have been likened to an interior journey taking place side by side with the outer one. This packet is a means of taking students along on Matisse's journey. IN THE PACKET You will find: background information on Matisse and his Moroccan experience with suggested general activities. a chronology of Matisse's life and travels. eight slides of works by Matisse. descriptions of the eight works with suggested activities. selected references. abbreviated guide to Morocco with a short glossary of Islamic and Moroccan terms. ACTIVITIES Activities are suggested in a broad manner, without referring to an age group. Questions may be directed to students at many different levels, but you will need to adapt these projects to your classroom or invent new activities: show the slides in your classroom. become familiar with Matisse and the works of art by reviewing the background information and descriptions. choose a regular time during the week to look at and discuss just one or two works. guide your students through the process of exploring what they see. This teachers' packet was prepared by Faye Powe for the Department of Teacher and School Programs. Education Division. Produced by the Editors Office. Copyright © 1990 Board of Trustees. National Gallery of Art Washington. D.C. Matisse and His Moroccan Experience Henri Matisse was a founder of modern art during the first decade of the twentieth century. Throughout his long career, he continued to experiment and to develop his art. He employed a variety of styles ranging from impressionism to abstraction. First and foremost a painter, Matisse also produced sculpture, prints, book illustrations, and costume and stage designs. Late in life, he created works of art by cutting pieces of painted paper into shapes and pasting them onto a surface (the "paper cut-outs"). And toward the end of his life, Matisse executed a total work of artthe Chapel of the Rosary at Vence, France, where he alone designed everything from the priests' robes to the stained glass windows. As an innovator, Matisse's most significant achievement was to use color freely, employing it to further expression or design. Relationships of one color to another were vital to him. He described how the choice of two colors committed him to select a third that would harmonize with themand so on until he had achieved the effect of total harmony. In 1908, Matisse explained his goals and approach in the following words: What I am after. above all, is expression. I am unable to distinguish between the feeling I have for life and my way of expressing it. Expression. to my way of thinking, does not consist of the passion mirrored upon a human face or betrayed by a violent gesture. The whole arrangement of my pictures is expressive. The place occupied by figures or objects, the empty places around them. the proportions, everything plays a part. Composi- tion is the art of arranging in a decorative manner the various elements at the painter's disposal for the expression of his feelings. ...All that is not useful in the picture is detrimental. A work of art must be harmonious in its entirety; for superfluous details would, in the mind of the beholder. encroach upon the essential elements. Matisse's sentiments reflect an attitude fundamental to modern art. That is. the artist creates not a mere copy of the physical world but something new, an object possessing its own internal logic and significance. The modern painter, for instance, is often more concerned with the arrangement of colors and shapes on a flat surface than with fidelity to the appearance of external reality. The main thrust of Matisse's art was toward simplification and decoration. His aesthetic of decora- tion had no equivalent in the Western tradition of painting, for decoration in the West traditionally was relegated to the minor arts. The artisan, not the artist, got involved with the so-called "decora- tive arts." Among artists immediately preceding Matisse, Paul Gauguin took a different position. Gauguin made ceramics, carved doors, and designed costumes. By viewing the Orient's decorative art as worthy of study, Gauguin helped to change the way people in the West referred to Oriental art, but it was Matisse who wholeheartedly embraced the aesthetic of non-Western art. In developing an aesthetic of decoration, Matisse made Islamic art his crucial point of reference. Islamic ceramics provided elements vital to Matisse. Their colors were pure, arabesque lines predom- inated, and objects were rendered as flat rather than three-dimensional. Oriental carpets also fulfill an important role in Matisse's work. Matisse made the carpet an active principle of design: in his painting he spread the carpets' patterns beyond their borders, thus transforming realistic representa- tions into decorative images in which the arrangement of colors provides aesthetic satisfaction. From the beginning of his career as an artist, Matisse viewed painting as an escape from disturbance. "When I started to paint," he wrote, "I felt transported into a kind of paradise. In everyday life I was usually bored and vexed by the things that people were always telling me I must do. Starting to paint I felt gloriously free, quiet and alone." Not only in the act of painting but in his finished work, and in his life as well. Matisse sought to exclude anything irritating or oppressive. "What I dream of," he said, "is an art of balance, of purity and serenity devoid of troubling or disturbing subject matter . .like a comforting influence, a mental balmsomething like a good armchair in which one rests from physical fatigue." 4 Something of Matisse's imaginary ideal was provided by southern lands, particularly those bounded by the Mediterranean. The artist was forever heading south. But Morocco held a special attraction to him. Matisse made two extended visits to Morocco during 1912 and 1913. Altogether, he stayed there seven months, during which time he produced some two dozen paintings and more than sixty drawings. To realize the significance of his Moroccan sojourn, we must understand Matisse's artistic development up to that time. After a long training and experiments in impressionism and neo-impressionism, Matissecame to prominence as one of the fauves ("wild beasts"), a name applied derisively to a group of painters exhibiting at the 1905 Salon d'Automne in Paris. "Wild beasts" referred to the way in which these painters employed color. They completely ignored the color we "see" in nature in favor of a color expressing their reactions to the subject before them. Fauvism as a movement was a short-lived phenomenon, but it was revolutionary in that it pointed toward an art made solely of color, which need not imitate the natural world. Matisse's later practice was, in a sense, an extension of the discoveries of 1905. In the decades that followed, however, he tended to clarify and simplify his art, on the one hand, and to enliven it by means of decoration on the other hand. Like the impressionists, Matisse felt obligated to work before nature, but, unlike them, he disliked variable weather.
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