DOCSLIB.ORG

Henri Matisse's "Bathers by a River" Author(S): Catherine C

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Henri Matisse's The Art Institute of Chicago Henri Matisse's "Bathers by a River" Author(s): Catherine C. Bock Source: Art Institute of Chicago Museum Studies, Vol. 16, No. 1, Aspects of Modern Art at the Art Institute: The Artist, The Patron, The Public (1990), pp. 44-55+92-93 Published by: The Art Institute of Chicago Stable URL: https://www.jstor.org/stable/4101568 Accessed: 20-06-2019 15:53 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 Thu, 20 Jun 2019 15:53:03 UTC All use subject to https://about.jstor.org/terms FIGURE I. Henri Matisse (French, 1869-1954). Bathers by a River, 1910-I6. Oil on canvas; 261.6 x 391.2 cm. The Art Institute of Chicago, Charles H. and Mary E S. Worcester Collection (1953.158). Originally this painting was to be part of the ensemble that included Dance II (fig. 7, p. 32) and Music (fig. 8, p. 33), which the Russian collector Sergei I. Shchukin commissioned from Matisse to decorate the most public part of his mansion, the main staircase. After Shchukin decided against buying it, Matisse was to work on the picture in two subsequent campaigns, in 1913 and again in 1916, during World War i, which probably affected its final form. hat I dream of is an art of balance, of purity, and serenity, devoid of troubling and depressing subject matter... HENRI MATISSE, 19o81 This content downloaded from 198.40.29.65 on Thu, 20 Jun 2019 15:53:03 UTC All use subject to https://about.jstor.org/terms Henri Matisse's Bathers by a River CATHERINE C. BOCK Professor of Art History The School of The Art Institute of Chicago Throughout his long life, the French painter Henri Bathers, originally designed to complete and comple- Matisse (1869-i954) largely succeeded in ful- ment two canvases of 910o-Il, Dance II (fig. 7, p. 32), filling his dream of producing works with and Music (fig. 8, p. 33), was meant to synthesize the untroubled and serene subjects, that is, sunlit interiors, frenzied energy of the former and the contemplative flowers, beautiful women, and colorful near-abstrac- attentiveness of the latter in a scene of "s&r~nite," of tions. The exceptions to this rule constitute a small body active contentment, in which women bathe and socialize of important works - illustrations of violence or death in near a waterfall. The third canvas of the trio, the Art several books, including Jazz (1947), the Crucifix and Institute's Bathers by a River, however, was abandoned Stations of the Cross in the Chapel of the Rosary at Vence in 191o, resumed unsuccessfully in 1913, and finally com- (195I), and, I believe, the Art Institute's Bathers by a pleted in 1916, during World War I. The painting's long River.2 gestation and its subsequent wartime completion resulted Bathers by a River (cover and fig. i) is not ordi- in the radical alteration of the style and, as I shall suggest, narily excepted from Matisse's works about "luxury, of the character of the subject and its meanings. calm, and voluptuousness."3 The prevailing interpreta- American formalist critics and post-World War II tions of the Art Institute's painting have resulted from artists have long valued the canvas as one of a group some combination of historical, stylistic, and bio- painted by Matisse between 1913 and 1917 in which he graphical clues as to its meaning. Historically, the canvas achieved, by means of an exploration of Cubist composi- appears to share the original joyous theme of the decora- tional methods, a new simplicity and structure in his tive panels commissioned for the home of the Russian decorative paintings. As John Golding noted, "Whereas collector Sergei Shchukin in 1909;4 stylistically, it is seen the sinuous muscularity of the dancers and the contained to be the culmination of the artist's assimilation of simplicity of the musician [in Dance and Music] had been Cubism;5 and, biographically, it has been used to demon- given a strongly decorative emphasis, the gravity of the strate the artist's use of real experience-his 1912 and later painting [Bathers by a River] again speaks elo- 1913 voyages to North Africa in this instance-to enrich quently of the Cubist encounter."7 This compositional and transform conventional themes.6 Without attempting strength and austerity marks a high point in the "style- a single exclusionary or authoritative interpretation of history" of Modernism and, according to some histo- this impressive canvas, this paper will highlight aspects of rians, helped prepare the way for the devlopment of non- the painting that pose the difficulties of "reading" it in a objective painting after the war. What is not always taken smooth art-historical narrative either about modern art into account in these formalistic histories is that Matisse or about Matisse's individual artistic achievement. painted Bathers by a River at a moment of intense crisis The historical sequence of the canvas's evolution has and internal division among advanced artists using the recently come to light. We know that a composition of Cubist style. I suggest that part of the meaning of the Art 45 This content downloaded from 198.40.29.65 on Thu, 20 Jun 2019 15:53:03 UTC All use subject to https://about.jstor.org/terms Institute's canvas arises from the fact that Bathers by a figures, plastically rendered and embedded in the flat River is a strategic response to this crisis. ground. Reversing the Galatea myth, the figures Finally, Matisse scholars have relied on the artist's exchange their pink flesh tones for pervasive stone-gray temperament or on the evidence of patterns of recurrence overpainting. in his work to insist on the unity and coherence of his Although the canvas encourages lateral, left-to-right oeuvre and of particular works. Despite the absence of a reading, it is not without spatial cues. The figure on the complete biography of the artist-authorized or unau- left stands on a repoussoir cluster of light gray foliage; she thorized-many problems in Matisse's art have been looks at the second figure, which, higher up and extend- resolved by recourse to the painter's character traits and ing beyond the frame, appears to occupy a more distant the crises in his life. The information we do have indi- position. Not only is the exact activity of this figure cates that Matisse possessed a generally conservative ambiguous, but its upper portion-head and shoulders character, even though he periodically engaged in unex- that run off the upper edge of the picture plane-is pectedly audacious artistic behavior. The consistency of obscure, multiform, possibly veiled.14 The canvas is the choices Matisse made and of the life he led has been bisected by a black vertical band, which emphasizes the extended to his artistic productions; thus contradictions canvas surface while alluding to deep space. To the right and conflicts within and between works are minimized of this band of black stands a robed figure, positioned or explained away. For example, Jean Guichard-Meili lower and, hence, closer to the viewer than her counter- wrote: "In these [post-i918] paintings, even the smallest part on the far left. The last figure, at the far right, whose and most hurried ones, there is a marvelous certainty, ankles are cut by the framing edge, advances into the exactness of proportion, variety and elegance. This viewer's space. peaceable, balanced Matisse is no less true to himself than An obvious transition occurs from left to right. The the Matisse of the great periods of conquest."' figure at the far left moves toward a natural paradise of Especially since the publication of his written state- luxuriant lime-green foliage, looking toward the seated/ ments on art, unusual weight has been given to his wading figure in the middle distance. The latter thrusts expressed intentions or his post-facto reflections.9 But her foot into the viscous black band near the center of the these are often contradictory or inconclusive. For exam- canvas. The exact median, however, lies between the edge ple, according to his daughter, Marguerite, Matisse con- of the black vertical and the rising curve of the diamond- sidered the Chicago painting unfinished; on the other headed serpent emerging from the lower edge of the hand, he numbered it one of five of his most important, picture. The line of the serpent, which flows into the pivotal canvases.10 As Amy Goldin once remarked, a downturned arms of the third figure, helps to bridge the propos of Matisse, "The artist has privileged access to his visual gulf and obtrusive flatness effected by the black intentions, but not to his accomplishment, and his own vertical. Despite this mediation, one is struck by the assessments cannot free us from the necessity of making contrast of the verdant left side of the composition with our own."" Thus, while taking account of the artist's the unearthly right side, with its stark figure-ground comments on his work, we will place them in the context relations.
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]
  • Культура І Мистецтво Великої Британії Culture and Art of Great Britain
    НАЦІОНАЛЬНА АКАДЕМІЯ ПЕДАГОГІЧНИХ НАУК УКРАЇНИ ІНСТИТУТ ПЕДАГОГІКИ Т.К. Полонська КУЛЬТУРА І МИСТЕЦТВО ВЕЛИКОЇ БРИТАНІЇ CULTURE AND ART OF GREAT BRITAIN Навчальний посібник елективного курсу з англійської мови для учнів старших класів профільної школи Київ Видавничий дім «Сам» 2017 УДК 811.111+930.85(410)](076.6) П 19 Рекомендовано до друку вченою радою Інституту педагогіки НАПН України (протокол №11 від 08.12.2016 року) Схвалено для використання у загальноосвітніх навчальних закладах (лист ДНУ «Інститут модернізації змісту освіти». №21.1/12 -Г-233 від 15.06.2017 року) Рецензенти: Олена Ігорівна Локшина – доктор педагогічних наук, професор, завідувачка відділу порівняльної педагогіки Інституту педагогіки НАПН України; Світлана Володимирівна Соколовська – кандидат педагогічних наук, доцент, заступник декана з науково- методичної та навчальної роботи факультету права і міжнародних відносин Київського університету імені Бориса Грінченка; Галина Василівна Степанчук – учителька англійської мови Навчально-виховного комплексу «Нововолинська спеціалізована школа І–ІІІ ступенів №1 – колегіум» Нововолинської міської ради Волинської області. Культура і мистецтво Великої Британії : навчальний посібник елективного курсу з англійської мови для учнів старших класів профільної школи / Т. К. Полонська. – К. : Видавничий дім «Сам», 2017. – 96 с. ISBN Навчальний посібник є основним засобом оволодіння учнями старшої школи змістом англомовного елективного курсу «Культура і мистецтво Великої Британії». Створення посібника сприятиме подальшому розвиткові у
    [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]
  • Twentieth Century Masters
    TWENTIETH CENTURY MASTERS FINDLAY GALLERIES Gallery Collection on View Balthus (1908 - 2001) Braque (1882 - 1963) Camoin (1879 - 1965) Chagall (1887 - 1985) D'Espagnat (1870 - 1950) Degas (1834 - 1917) Friesz (1879 - 1949) Glackens (1870 - 1938) TWENTIETH Hassam (1859 - 1935) CENTURY Homer (1836 - 1910) Lachaise (1882 - 1935) Laurencin (1883 - 1956) Le Sidaner (1862 - 1939) Lebasque (1865 - 1937) Lebourg (1849 - 1928) Luce (1858 - 1941) Martin- Ferrieres (1893 - 1972) Matisse (1869 - 1954) Metzinger (1883 - 1956) Pissarro- (1830 - 1903) Prendergast (1858 - 1924) Renoir (1841 - 1919) Valtat (1869 - 1952) Van Dongen (1877 - 1968) Vlaminck (1876 - 1958) Vuillard (1868 - 1940) KEES VAN DONGEN (1877 - 1968) Portrait de jeune femme au petit chien, c. 1920 oil on canvas 59 x 59 inches Signed 'van Dongen' (middle right) 137616 3 // FINDLAY TWENTIETH CENTURY MASTERS Findlay Galleries continues its long tradition of presenting highly important paintings to fine art collectors throughout the world. The Masters' Collection offers a cross-section of highlights from our collection including recent acquisitions of Impressionist and Modern Masters. The Galleries' global position in the art market for nearly 148 years has distinguished it as a leader in providing unique opportunities for collectors. Many of the paintings in this exhibition have appeared in museums around the globe and in distinguished collectors' homes. Several of these works have been privately collected and quietly passed down from generation through generation. As always, our art consultants offer unparalleled excellence in assisting our clients as they enhance or begin their collections. As a dealer to individuals, institutions and corporate collectors alike, Findlay Galleries continues to celebrate its traditions of presenting exhibitions featuring collections of diverse, original, and outstanding works.
    [Show full text]
  • Art Movements Referenced : Artists from France: Paintings and Prints from the Art Museum Collection
    UNIVERSITY OF WYOMING ART MUSEUM 2009 Art Movements Referenced : Artists from France: Paintings and Prints from the Art Museum Collection OVERVIEW Sarah Bernhardt. It was an overnight sensation, and Source: www.wikipedia.org/ announced the new artistic style and its creator to The following movements are referenced: the citizens of Paris. Initially called the Style Mucha, (Mucha Style), this soon became known as Art Art Nouveau Les Nabis Nouveau. The Barbizon School Modernism Art Nouveau’s fifteen-year peak was most strongly Cubism Modern Art felt throughout Europe—from Glasgow to Moscow Dadaism Pointillism to Madrid — but its influence was global. Hence, it Les Fauves Surrealism is known in various guises with frequent localized Impressionism Symbolism tendencies. In France, Hector Guimard’s metro ART NOUVEau entrances shaped the landscape of Paris and Emile Gallé was at the center of the school of thought Art Nouveau is an international movement and in Nancy. Victor Horta had a decisive impact on style of art, architecture and applied art—especially architecture in Belgium. Magazines like Jugend helped the decorative arts—that peaked in popularity at the spread the style in Germany, especially as a graphic turn of the 20th century (1890–1905). The name ‘Art artform, while the Vienna Secessionists influenced art nouveau’ is French for ‘new art’. It is also known as and architecture throughout Austria-Hungary. Art Jugendstil, German for ‘youth style’, named after the Nouveau was also a movement of distinct individuals magazine Jugend, which promoted it, and in Italy, such as Gustav Klimt, Charles Rennie Mackintosh, Stile Liberty from the department store in London, Alphonse Mucha, René Lalique, Antoni Gaudí and Liberty & Co., which popularized the style.
    [Show full text]
  • What Is Fauvism? Fauvism Was an Art Style That Lasted Only Four Years, Beginning in 1905
    F I N E A R T S What is Fauvism? Fauvism was an art style that lasted only four years, beginning in 1905. Fauvism was a movement in French painting that revolutionized the concept of color in modern art. The word Fauvism is french for "wild beasts". It got this name because the paintings had bright and unusual colors. The subjects in the paintings were shown in a simple way, and the colors and patterns were bright and wild. The leader of this movement was Henri Matisse. At the end of the nineteenth century, Neo Impressionist painters were already using pure colors, but they applied those colors to their canvases in small strokes. The fauves rejected the impressionist palette of soft, shimmering tones in favor of radical new style, full of violent color and bold distortions. These painters never formed a movement in the strict sense of the word, but for years they would nurse a shared ambition, before each went his separate and more personal way. Main Representatives • Henri Matisse • Paul Gauguin • Andre Derain • Raoul Dufy • Maurice de Vlaminck • Kees van Dongen • Albert Marquet • Charles Camoin • Georges Braque • Othon Friesz • Henry-Charles Manguin • Jean Puy Objectives: Students will be able to: Painting: Guided Practice: Have class critique. Compare and contrast finished work to that of the • Identify and describe the painting The Fauve landscape painting is our first Fauves. style of the Fauve artists. painting experience of the year. Spending time to explore color mixing is important • Understand why the works of Art Assessment: Matisse and Derain outraged critics to painting success.
    [Show full text]
  • Cannes Hôtel Martinez Mercredi 15 Août 2012
    TABLEAUX MODERNES ART CONTEMPORAIN CANNES HÔTEL MARTINEZ MERCREDI 15 AOÛT 2012 CANNES HÔTEL MARTINEZ DU 14 AU 16 AOUT 2012 Les Ventes aux Enchères de Prestige à Cannes sur la Croisette depuis 1989 Mardi 14 août à 14h30 Vins Prestigieux & Alcools Mercredi 15 août à 14h30 Art Moderne & Contemporain Jeudi 16 août à 14h30 Bijoux & Montres - Tapis - Tapisseries Expositions publiques dans les salons de l’Hôtel Martinez - Cannes dimanche 12 août de 17h à 20h - lundi 13 et mardi 14 août de 10h à 20h mercredi 15 août de 10h à 12h30 Catalogues en ligne www.cannesauction.com 45, La Croisette - 06400 CANNES - FRANCE - Tél 00 33 4 93 99 33 49 - Fax 00 33 4 93 99 30 03 [email protected] ART MODERNE & CONTEMPORAIN VENTE MERCREDI 15 AOÛT 2012 À 14H30 DANS LES SALONS DE L’HÔTEL MARTINEZ 73, Boulevard de la Croisette - 06400 Cannes Maître Jean-Pierre Besch , commissaire-priseur judiciaire et habilité SVV Besch Cannes Auction n° 2002-034 45, Boulevard de la Croisette, 06400 Cannes Tél : 33 (0) 4 93 99 22 60 - 33 (0) 4 93 99 33 49 Fax : 33 (0) 4 93 99 30 03 [email protected] - www.cannesauction.com EXPOSITIONS Cannes - H ôtel Martinez 73, Boulevard de la Croisette - 06400 Cannes dimanche 12 août de 17h à 20h lundi 13 et mardi 14 août de 10h à 20h mercredi 15 août de 10h à 12h30 TÉLÉPHONES DURANT LES EXPOSITIONS ET LES VENTES 33 (0) 4 93 99 22 60 - 33 (0) 4 93 99 33 49 • 1 INDEX A G MARQUET 88-269 AIZPIRI 352-353 de GALLARD 323 MASSON 271 AMBROGIANI 332 GANTNER 86 MENTOR 345 AMEGLIO 55 GARNERAY 61 MONTEZIN 68-232 ANTOYAN 367 GAROUSTE 310-314 MOSER
    [Show full text]
  • The Sculpture of Matisse 9
    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. Frederic Byers III, Vice Presidents ; Willard C. Butcher, Treasurer; Robert 0. Anderson, Mrs. Douglas Auchincloss, Designed by James Wageman Walter Bareiss, Robert R. Barker, Alfred H. Barr, Jr.,* Mrs. Printed in the United States of America Armand P. Bartos, William A. M. Burden, Ivan Chermayeff. The Museum of Modern Art Dr. Mamie Phipps Clark, Mrs. W. Murray Crane,* John de 11 West 53 Street, New York, N.Y.
    [Show full text]