DOCSLIB.ORG

Henri Matisse, French Painter and Sculptor (1869-1954)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Henri Matisse, French Painter and Sculptor (1869-1954) Who? Henri Matisse, French painter and sculptor (1869-1954) What? The Red Studio (Oil on canvas, 64 x 51 inches) When? 1911 Where is it now? The Museum of Modern Art, New York Why is this artist/artwork important? Matisse’s The Red Studio exemplifies the artists desire to use color and pattern to express feelings or a mood and create an art that would be comforting and enjoyable. Henri Matisse Information Sheet --Born in 1869 in Northern France --Parents were shopkeepers. He wasn’t interested in art as a child and his parents didn’t encourage him. They wanted him to be a lawyer. He studied law and worked in a law office for a year, but was really bored --became sick, appendicitis, and was in bed for a year. His mom gave him some paints and he really liked to paint. Continued to study art after he was better --In 1891, gave up practicing law and moved to Paris to study art. He went to a well-known art school (Julian Academy). His teacher (William Bouguereau) was really traditional. Painted in the way that was done for 100s of years—art should look as close to reality as possible. --Other artists at the time were doing different things. There was lots of experimentation. One new idea that artists were exploring was with color. Art doesn’t have to show things the way they look in the real world. An artist can use color to express what he/she imagines or feels. For example, Paul Gauguin—White Horse --Ask the kids to look at the colors of the grass, the horses. Do you think that this is what the artist saw when he looked outside? Gauguin said that if I imagine that a horse is red, then I should paint it red. Art can be about your imagination and not just like a photograph. Matisse hung out with artists who were exploring these ideas and started experimenting. In 1905, there was a big art exhibition featuring this new art. --The Green Stripe (1905)—painting that Matisse showed. It is a portrait of his wife --do you think she looked like this (can show a photograph of her) --What did he change? What does he do with the background? How do you think people reacted to the painting? Most didn’t like it. Once critic called Matisse and the other artists in the show “Fauves,” (Means “Wild Beasts) --What about the colors? Very Bright, clashing with each other. What about the brushstrokes? Visible—slashing strokes. Fortunately, some people did like this art and they bought it. So, Matisse could continue to paint. After the show, Matisse changed his way of working. He no longer wanted to make paintings that were shocking. He said that art should make you feel good. Famous quote, “What I dream of is an art of balance, of purity and serenity, devoid of troubling or depressing subject matter, an art which might be...something like a good armchair in which to rest from physical fatigue.” Harmony in Red (1908-9) --commissioned by a wealthy Russian. What does it show? Is it an interior or exterior scene? How does he depict space? Color is flat—no shadows, no gradation of color. Simplified Shapes? Confuses your sense of space with repeated decoration (wallpaper and table cloth have the same pattern), window or a framed picture in the background? --Interest in the effect of color on how you feel. Called it Harmony in red—happy, comforting. What would happen if you changed the color? Originally this painting was blue. He changed the color to give a different effect. Matisse focused on creating comforting art—mostly inside scenes, no conflict, people with problems, if outdoor scene, doesn’t even show rain. --He did lots of paintings of where he worked—The Art Studio The Red Studio, 1911 (Museum of Modern Art, New York) --painted a view of his studio. How do we know it is his studio? Clues: his art is in it. Also puts in objects that reappear in many of his paintngs. Does he appear in it? --Think about his use of color. What does it make you feel? Plays with space: Can you see where the floor ends and the wall begins? (It is visible, but barely). Matisse paints his world—the studio, over and over again. For example: The Pink Studio (1911), Corner of the Artist’s Studio (1912). What does he show in these? How are the paintings different? What’s the same? When Matisse grew older, he could no longer hold a paintbrush. He began to make paper cut outs, which he called “painting with scissors.” The Snail, 1953—enormous work (9 1/5 feet x 9 ½ feet) --Same ideas of color to provide feeling and rhythm, Simple shapes --Do you see the snail? Died in 1954. Was 85 years old. For more information: Books: Mike Venezia, Getting to Know the World’s Greatest Artists: Henri Matisse. Internet Sites: http://en.wikipedia.org/wiki/Matisse http://www.ibiblio.org/wm/paint/auth/matisse/ Images: The Green Stripe, 1905 Harmony in Red, 1908, The Red Studio, 1911 The Pink Studio Corner of the Artist’s Studio The Snail Comparative Images Matisse in his studio Matisse’s Wife Gauguin, The White Horse Bouguereau, Portrait (Mignon), 1869 Matisse Project Idea: 1. Have the kids make a picture of their “studio” (the classroom). Materials: Brightly colored poster board or tag board (9x11”) in a couple of different colors (Note: It is less expensive to buy the large pieces and cut them to size. You can also buy double-sided poster board at Michaels, which offers the students two choices) Markers Colored Paper Paper with Patterns on it (wrapping paper works fine) Glue --Have the students choose an aspect of their classroom to depict. They can choose any part of the classroom (one side of the room, their desk, inside their desk, the door, anything). --Tell them to choose a background color for their scene, which will give the overall feeling (this is the large poster board) --With markers have them draw their “studio” --If they want, they can cut out pieces of colored paper or wrapping paper and glue them on, to create the effect of flat areas or color and patterns that Matisse used. .
Load more

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]