DOCSLIB.ORG

To Mark the 150Th Anniversary of the Birth of Matisse and the Upcoming

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
To Mark the 150Th Anniversary of the Birth of Matisse and the Upcoming To mark the 150th anniversary of the birth of Matisse and the upcoming exhibition of his work at the Pompidou Centre in Paris in 2020, this art documentary invites us to retrace the voyages Matisse made that influenced his art, especially his last trip to Polynesia in 1930, which took him to the threshold of contemporary art with the invention of his gouache-painted cut-outs. In 1930, at the age of 60, Matisse feels the call of the sea, the lure of elsewhere, one last time. He decides to embark on the longest possible journey: to the antipodes, to see Polynesia. The voyage to Tahiti takes several weeks, giving him time to look back on the distance he has travelled in his lifetime. He reflects on the many journeys that he, a man of the North searching for bright light and colours, has continually made throughout his life and career as a painter: to Corsica, Collioure and Nice, where he finally settled in 1917, but also to Algeria, Morocco and the United States. Each time, these trips have been a stepping stone to something else. His Corsican experience led him to Fauvism, his sojourn in Morocco to modern painting; Polynesia will permeate the last 25 years of his creative life and take him to the threshold of contemporary art. This lifelong artistic quest for other lights, colours and shapes has also, above all, been a search for himself that has driven him tirelessly and passionately to pursue the great journey of his life. Polynesia, the sea (1948) Note : The works presented in this dossier are all signed by Henri Matisse and their rights belong to Les Héritiers Matisse (© Succession H. Matisse), as well as the photographs unless otherwise indicated. The reproductions of the works have been made without Les Héritiers Matisse’s prior monitoring. March 2020 Chasing Light, The Voyages of Matisse © CC&C – Man’s Films Productions – Nocturnes Productions - 2019 2 Present-day scenes of the north and south shores of the Mediterranean (the French Riviera and the Moroccan coast around Tangiers), intercut with scenes of modern Polynesia. Gradually, archive shots from the 1920s and 30s blend into these pictures, culminating in footage dated March 1930 of the aptly named RMS Tahiti, a rusty old steamship that looks more like a freighter than a passenger ship. On board this uncomfortable vessel is Henri Matisse, aged 60, bound for the United States on the first leg of his journey to French Polynesia. He has set forth on this adventure in some haste, leaving an unfinished painting on his easel in Nice, driven by an urge to go travelling alone in search of something. What is he hoping to gain from this journey? Matisse (right) aboard the RMS Tahiti (1930) Aboard the ship, Matisse asks himself the same question. Has he made the right decision? Should he be traveling so far? And yet, he has been mulling over this trip to Polynesia for nearly twenty years. He has always been a traveller, lured to elsewhere. Born in Cateau-Cambrésis, a small town in the Nord département of France some thirty kilometres from Belgium, he has always roamed farther and farther south in search of light. As a budding young artist, he had already been to England, Spain, Italy, and even Russia, but he regarded most of these trips as “working visits”. To his mind, his only “real” journeys before 1930 had been to Corsica, Algeria and Morocco. Leaning on the ship’s rail, watching the coast of Europe recede, he thinks back on that first big journey to Corsica with his wife Amélie, just one month after their wedding. Back then, in February 1898, Matisse was still a struggling young artist, living from hand to mouth in Paris. He liked Corsica so much that he stayed on a few months longer, until July, and did about fifty paintings there, including Landscape, the Pink Wall. The atmosphere of Corsica inspired him so deeply that he began to assert his own style, especially with regard to his choice of colours, which paved the way for Fauvism a few years later. Landscape, the pink wall (1898) Chasing Light, The Voyages of Matisse © CC&C – Man’s Films Productions – Nocturnes Productions - 2019 3 It was in Corsica that Matisse, in his own words, “learned to know” the Mediterranean. “It was in Ajaccio that I first experienced my great amazement at the South.” In the years that followed, he continued extensively to explore this “South” that so entranced him. Together with his friend and fellow artist André Derain, Matisse painted many pictures in Collioure and the surrounding area, pushing the exploration of light and colour to new limits. These pure, violent colours painted flat on canvases, which he showed at the 1905 Salon d’Automne, were what led to Fauvism, of which Matisse is the great master. Among the earlier painters whose influence he acknowledged was Van Gogh, but predominantly Gauguin – the Gauguin of Polynesia, naturally. His paintings deeply impressed Matisse. On board the ship to Tahiti in March 1930, Matisse must surely Open window, Collioure (1905) have been thinking of his great predecessor, who had died nearly twenty-five years earlier. Matisse thinks back on the dazzling success of Fauvism in 1905 and the journeys he made thereafter. He travelled regularly – almost every winter from 1906 to 1913 – to Andalusia, Algeria and especially Morocco, twice, in 1912 and 1913. “These trips to Morocco helped me reconnect with nature more completely than I could by practising a living but rather limited theory, such as Fauvism”. In fact, in these years just before World War One, when Matisse was 43-44, he went through a profound midlife crisis. For one thing, he had just lost his father and was haunted by grief. For another, Sergei Shchukin had just rejected Dance and Music, two panels Matisse had painted for the Russian art collector’s Moscow home. An artistic crisis, therefore, on top of a family one, was exacerbated by the fact that the wildfire of Fauvism had died down a few years before. It was time for Matisse to move on to something else, to find a new creative impetus. Zohra in yellow (1912) It was in Tangiers that he first experienced what he called “the ineffable sweetness when it comes of its own accord” and foresaw the potential of his creative work that lay ahead, through his contact with Islamic art. As he wrote at the time, “This type of art suggests a wider space, a truly plastic space.” In his studio/bedroom overlooking the Bay of Tangiers, he painted incessantly: still lives, landscapes and figures, of women, most notably Zohra, but also of men, such as the “Riffian”. In a way, he was still trying to reconcile his leading inspirations – Cézanne and Gauguin – with the grand traditions of Eastern art, but over time he moved on from there. He would stroll in the medina or immerse himself in the peace and quiet of the Moroccan gardens, beguiled by their lush vegetation. The Window, Tangiers (1912) Chasing Light, The Voyages of Matisse © CC&C – Man’s Films Productions – Nocturnes Productions - 2019 4 It is no coincidence that the search for the arabesque, or the wavy shape in general, is a distinctive feature of Matisse’s art. Nor is it by coincidence that another feature of his painting is the simplification of shapes and colours: often pure and flat and rimmed by a dark line, and later, just solid colours. All of this is the result of his travels and the indirect influence of Eastern art, ranging from the figure of the odalisque to his famous series of blue nudes. Odalisque with a Turkish Chair (1928) / Blue nude IV (1952) But at the same time, Matisse did not travel east in order to experiment with Orientalist painting, let alone to walk in the footsteps of Delacroix. He has always been a painter who goes his own way, and this is what he is about to do in Polynesia. He has no intention of following in Gaugin’s footsteps. Since his trip to Morocco, one thing has been crystal clear to him: what really matters is the search for himself in his art. When Matisse decided to settle in Nice in 1917, it was to be able to live permanently on the Mediterranean shore. To illustrate how much his first discovery of the light, not only in the south of France but on both sides of the Mediterranean, was a major milestone in Matisse’s life, we see various key paintings from this period juxtaposed with contemporary scenes of the French Riviera, Corsica, and Morocco, illustrating the scope of his Mediterranean work and the contribution that his many “southward travels” made to his oeuvre. Seated Woman, Back Turned to the Open Window (1922) Nonetheless, in early 1930, we find Matisse seeking to renew himself and go even farther, both literally and metaphorically. It’s a long journey – first across the Atlantic, then coast-to-coast across the United States by train from New York to San Francisco. He had already travelled frequently to the USA since the mid-1920s because most of his biggest collectors were there. The New York skyscrapers fascinate him now, as always: the vastness of the cities and the special kind of light that falls between the buildings. This journey across America forms an unexpected prologue to his journey: the immensity of the Wild West makes a sharp break with the Old World behind him. After spending a few days in San Francisco, he boards ship again.
Load more

Recommended publications
  • A Film by Catherine BREILLAT Jean-François Lepetit Présents
    a film by Catherine BREILLAT Jean-François Lepetit présents WORLD SALES: PYRAMIDE INTERNATIONAL FOR FLASH FILMS Asia Argento IN PARIS: PRESSE: AS COMMUNICATION 5, rue du Chevalier de Saint George Alexandra Schamis, Sandra Cornevaux 75008 Paris France www.pyramidefilms.com/pyramideinternational/ IN PARIS: Phone: +33 1 42 96 02 20 11 bis rue Magellan 75008 Paris Fax: +33 1 40 20 05 51 Phone: +33 (1) 47 23 00 02 [email protected] Fax: +33 (1) 47 23 00 01 a film by Catherine BREILLAT IN CANNES: IN CANNES: with Cannes Market Riviera - Booth : N10 Alexandra Schamis: +33 (0)6 07 37 10 30 Fu’ad Aït Aattou Phone: 04.92.99.33.25 Sandra Cornevaux: +33 (0)6 20 41 49 55 Roxane Mesquida Contacts : Valentina Merli - Yoann Ubermulhin [email protected] Claude Sarraute Yolande Moreau Michael Lonsdale 114 minutes French release date: 30th May 2007 Screenplay: Catherine Breillat Adapted from the eponymous novel by Jules Barbey d’Aurevilly Download photos & press kit on www.studiocanal-distribution.com Produced by Jean-François Lepetit The storyline This future wedding is on everyone’s lips. The young and dissolute Ryno de Marigny is betrothed to marry Hermangarde, an extremely virtuous gem of the French aristocracy. But some, who wish to prevent the union, despite the young couples’ mutual love, whisper that the young man will never break off his passionate love affair with Vellini, which has been going on for years. In a whirlpool of confidences, betrayals and secrets, facing conventions and destiny, feelings will prove their strength is invincible... Interview with Catherine Breillat Film Director Photo: Guillaume LAVIT d’HAUTEFORT © Flach Film d’HAUTEFORT Guillaume LAVIT Photo: The idea “When I first met producer Jean-François Lepetit, the idea the Marquise de Flers, I am absolutely “18th century”.
    [Show full text]
  • Interview Avec Raoul Coutard Pierre-Emmanuel Parais and Marie Renoue
    Document generated on 09/26/2021 4:37 p.m. Protée Interview avec Raoul Coutard Pierre-Emmanuel Parais and Marie Renoue Lumières Article abstract Volume 31, Number 3, hiver 2003 Among numerous anecdotes about what represents for us cult films like Le Mépris, À bout de souffle, Alphaville and Tirez sur le pianiste, Raoul Coutard – URI: https://id.erudit.org/iderudit/008441ar famous chief-operator of the “ nouvelle vague ”, photographer and director – DOI: https://doi.org/10.7202/008441ar evokes his work as a lighting engineer, and more particularly the technical and chemical constraints encountered during shooting. This highly technical See table of contents discussion points to, beyond the obvious limitations of the language to account for the light during shooting, how much the material constraints are generating meaningful and admirable luminous effects for their spectators. Publisher(s) Département des arts et lettres - Université du Québec à Chicoutimi ISSN 0300-3523 (print) 1708-2307 (digital) Explore this journal Cite this article Parais, P.-E. & Renoue, M. (2003). Interview avec Raoul Coutard. Protée, 31(3), 101–106. https://doi.org/10.7202/008441ar Tous droits réservés © Protée, 2003 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research.
    [Show full text]
  • Framing 'The Other'. a Critical Review of Vietnam War Movies and Their Representation of Asians and Vietnamese.*
    Framing ‘the Other’. A critical review of Vietnam war movies and their representation of Asians and Vietnamese.* John Kleinen W e W ere Soldiers (2002), depicting the first major clash between regular North-Vietnamese troops and U.S. troops at Ia Drang in Southern Vietnam over three days in November 1965, is the Vietnam War version of Saving Private Ryan and The Thin Red Line. Director, writer and producer, Randall Wallace, shows the viewer both American family values and dying soldiers. The movie is based on the book W e were soldiers once ... and young by the U.S. commander in the battle, retired Lieutenant General Harold G. Moore (a John Wayne- like performance by Mel Gibson).1 In the film, the U.S. troops have little idea of what they face, are overrun and suffer heavy casualties. The American GIs are seen fighting for their comrades, not their fatherland. This narrow patriotism is accompanied by a new theme: the respect for the victims ‘on the other side’. For the first time in the Hollywood tradition, we see fading shots of dying ‘VC’ and of their widows reading loved ones’ diaries. This is not because the filmmaker was emphasizing ‘love’ or ‘peace’ instead of ‘war’, but more importantly, Wallace seems to say, that war is noble. Ironically, the popular Vietnamese actor, Don Duong, who plays the communist commander Nguyen Huu An who led the Vietnamese People’s Army to victory, has been criticized at home for tarnishing the image of Vietnamese soldiers. Don Duong has appeared in several foreign films and numerous Vietnamese-made movies about the War.
    [Show full text]
  • Gender and the Politics of Decolonization in Early 1960S French Cinema
    This is a repository copy of Gender and the politics of decolonization in early 1960s French cinema. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/142211/ Version: Accepted Version Article: Sharpe, M (2019) Gender and the politics of decolonization in early 1960s French cinema. Journal of European Studies, 49 (2). pp. 163-183. ISSN 0047-2441 https://doi.org/10.1177/0047244119837478 © 2019, The Author(s). This is an author produced version of an article published in the Journal of European Studies. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Gender and the politics of decolonization in early 1960s French cinema Erotophilic and politically sublimated are two barbs frequently mobilized to critique the imaginary of early 1960s French cinema. Erotophilic as, for the most part,
    [Show full text]
  • 1 Rapport D'activité 2010
    Rapport d’activité 2010 RAPPORT D’ACTIVITÉ 2010 Rapport d’activité 2010 TABLE DES MATIERES Editorial ....................................................................................................................................................................... 3 I LES ACTIVITES PROPOSEES AU PUBLIC EN 2010..........................................................................................5 1 La programmation des films ................................................................................................................................ 6 2 Les expositions.................................................................................................................................................. 10 3 L’action culturelle............................................................................................................................................... 12 4 La Bibliothèque du film ...................................................................................................................................... 20 5 La Librairie et le restaurant................................................................................................................................ 22 6 Les invités de la Cinémathèque ........................................................................................................................ 23 II LES COLLECTIONS............................................................................................................................................25 1 Enrichissement
    [Show full text]
  • Pierre Schoendorffer: Obit
    1 The Telegraph 14 Mar 2012 Pierre Schoendoerffer Pierre Schoendoerffer, the writer and director, who has died aged 83, captured the torment of Western soldiers in the sodden jungles of south-east Asia, influencing Apocalypse Now and shaping modern audience expectations of what war films should look like. Concentrating on the confusion, fear, loneliness and moral compromises made by, as often as not, young men barely out of school, Schoendoerffer recorded the fall of the French at Dien Bien Phu and won an Oscar for a documentary about an American platoon in Vietnam. Though fighting, killing and dying inevitably shaped his dramas, it was the details of each man’s life that fascinated him. “ What’s interesting is how they behave, not just in battle, but how they live, how they eat, how they sleep, how they relax and have fun, how they establish an extraordinary solidarity with the threat of death all around,” he said. As well as his documentaries, Schoendoerffer wrote books and made feature films about war which were highly influential. His novel L’Adieu au Roi (1969) was adapted for the screen as Farewell to the King by John Milius, who also wrote the screenplay for Francis Ford Coppola’s Vietnam epic Apocalypse Now (1979). One scene from the extended version of Apocalypse Now features French rubber planters discussing the pressures on colonial families in Indo- China. Suddenly one of them seizes an egg and crushes it in his fist. “This is the truth,” he says, as the egg white seeps through his fingers, leaving the yolk in his palm.
    [Show full text]
  • Magazine MA Modern and Contemporary Art 1(4) Critical Reviews Exhibitions Cultural Studies Interviews Foreword
    Cultural Theory 2015 magazine MA Modern and Contemporary Art 1(4) Critical Reviews Exhibitions Cultural Studies Interviews Foreword This fourth number of C# — the Christie’s Education student-led on-line journal — reflects the unique interests, engagements and ambitions of those who have made the issue. As lecturers, tutors and teachers, our aim is to set in motion the conditions necessary for students to begin to gather together critical writing, features, essays and interviews, which map and explore the ecosystem that makes for contemporary art and its varied practices and positions. We offer advice and supervision, but mainly the opportunity to take ownership of the endeavour and shape the experience and outcome as theirs. Before you is the product of those efforts in C#15. The cohort of students that comprise the class of 2014–15 are now, as I write, finishing up their course work and preparing the transition to forging their own professional practices and positions in the art world. We take pride that they may already appreciate such a shift as akin a move into the grand theatre of objects variously arranged in space and time relative to perceiving subjects that is the lebenswelt, or lifeworld. This is ultimately the dynamic horizon against which they will continue to learn and live, laugh, love and labour. We wish them well and thank them for being excellent representatives of Christie’s Education. John Slyce Senior Tutor Modern and Contemporary Art and Art world Practice Table of Contents Features Exhibition Reviews/ London 16
    [Show full text]
  • Winged Migration Pressbook
    Jacques Perrin presents “WINGED MIGRATION” 85 Minutes. Not Yet Rated by the MPAA. A Sony Pictures Classics Release. EAST COAST: WEST COAST: EXHIBITOR CONTACTS: MAGIC LANTERN, INC. BLOCK -KORENBROT SONY PICTURES CLASSICS SARA FINMANN MELODY KORENBROT CARMELO PIRRONE JESSICA UZZAN ZIGGY KOZLOWSKI MARISSA MANNE 250 WEST 57TH STREET 8271 MELROSE AVENUE, 550 MADISON AVENUE, SUITE 1718 SUITE 200 8TH FLOOR NEW YORK, NY 10107 LOS ANGELES, CA 90046 NEW YORK, NY 10022 PHONE: (212) 586-7233 PHONE: (323) 655-0593 PHONE: (212) 833-8833 FAX: (212) 586-7282 FAX: (323) 655-7302 FAX: (212) 833-8844 www.magiclanternpr.com Visit the Sony Pictures Classics internet site at: http:/www.sonyclassics.com WINGED MIGRATION Filmmakers Director JACQUES PERRIN Co-Directors JACQUES CLUZAUD MICHEL DEBATS Narrator JACQUES PERRIN Writers STÉPHANE DURAND JACQUES PERRIN Producers CHRISTOPHE BARRATIER JACQUES PERRIN Executive Producer JEAN DE TRÉGOMAIN Associate Producers REINHARD BRUNDIG DANIÈLE DELORME JEAN-MARC HENCHOZ JEAN LABADIE JOSÉ MARÍA MORALES ANDREA OCCHIPINTI YVES ROBERT Cinematographers MICHAEL BENJAMIN SYLVIE CARCEDO-DREUJOU LAURENT CHARBONNIER LUC DRION LAURENT FLEUTOT PHILIPPE GARGUIL DOMINIQUE GENTIL BERNARD LUTIC THIERRY MACHADO STÉPHANE MARTIN FABRICE MOINDROT ERNST SASSE MICHAEL TERRASSE THIERRY THOMAS Sound Recordist PHILIPPE BARBEAU Composer BRUNO COULAIS Editor MARIE-JOSÈPHE YOYOTTE Production Design RÉGIS NICOLINO Stills Photographer MATHIEU SIMONET Idea VALENTINE PERRIN * * * 2 WINGED MIGRATION “For eighty million years, birds have ruled the skies,
    [Show full text]
  • Television Movies: Big Pictures on the Small Screen the Trip to Bountiful
    Television Movies: Big Pictures on the Small Screen February 19-29, 2020 The Roy and Niuta Titus Theaters Wednesday, February 19 4:30pm The Trip to Bountiful. 1953. USA. Directed by Vincent J. Donahue. Written by Horton Foote. 60 min. 6:30pm Tosca. 1955. USA. Directed by Kirk Browning. Adaptation by John Gutman. 111 min. Thursday, February 20 4:30pm The Anderson Platoon. 1967. France. Written and directed by Pierre Schoendoerffer. 63 min. 6:30pm Present Laughter. 1967. Great Britain. Directed by Gordon Flemyng. Written by Noël Coward. 100 min. Friday, February 21 4:30pm Le petit théâtre de Jean Renoir (The Little Theater of Jean Renoir). 1970. Italy, France. Written and directed by Jean Renoir. In French; English subtitles. 100 min. 7:30pm Angst vor der Angst (Fear of Fear). 1975. Federal Republic of Germany. Written and directed by Rainer Werner Fassbinder. In German; English subtitles. 88 min. Saturday, February 22 1:30pm The Glass Menagerie. 1973. USA. Directed by Anthony Harvey. Screenplay by Stewart Stern. 105 min. 4:30pm Cartesius. 1974. Italy. Written and directed by Roberto Rossellini. In Italian; English subtitles. 150 min. 7:30pm Meantime. 1983. Great Britain. Written and directed by Mike Leigh. 107 min. Sunday, February 23 2pm Inside. 1996. United States. Directed by Arthur Penn. Written by Bima Stagg. 94 min. 4:30pm The Trip to Bountiful. 1953. USA. Directed by Vincent J. Donahue. Written by Horton Foote. 60 min. 6:00pm Tosca. 1955. USA. Directed by Kirk Browning. Adaptation by John Gutman. 111 min. Tuesday, February 25 4:30pm Present Laughter. 1967.
    [Show full text]
  • Henri Matisse: the Cut-Outs the Museum of Modern Art, New York, October 12, 2014–February 08, 2015
    Henri Matisse: The Cut-Outs The Museum of Modern Art, New York, October 12, 2014–February 08, 2015 HENRI MATISSE (French, 1869–1954) The Dance (La Danse) 1938 Maquette for a lithographic reproduction for the journal Verve 1, no. 4 (1938) Gouache on paper, cut and pasted, and ink 19 1/8 x 24 3/16" (48.5 x 61.5 cm) The Perl Collection HENRI MATISSE (French, 1869–1954) Two Dancers (Deux Danseurs) 1937–38 Stage curtain design for the ballet Rouge et Noir Gouache on paper, cut and pasted, notebook papers, pencil, and thumbtacks 31 9/16 x 25 3/8" (80.2 x 64.5 cm) Musée national d'art moderne/Centre de création industrielle, Centre Georges Pompidou, Paris. Dation, 1991 HENRI MATISSE (French, 1869–1954) Small Dancer on Red Background (Petit Danseur sur fond rouge) 1937–38 Gouache on paper, cut and pasted 23 1/2 x 18 1/4" (59.7 x 46.4 cm) Private collection, Houston, Texas HENRI MATISSE (French, 1869–1954) Dancer (Le Danseur) 1937–38 Gouache and pencil on paper, cut and pasted 29 1/2 x 24 1/2" (74.9 x 62.2 cm) Private collection HENRI MATISSE (French, 1869–1954) Two Dancers (Deux Danseurs) 1937–38 Stage curtain design for the ballet Rouge et Noir Gouache on paper, cut and pasted, mounted on board 24 13/16 × 25 3/8" (63 × 64.5 cm) Private collection 9/27/2014 Henri Matisse: The Cut-Outs HENRI MATISSE (French, 1869–1954) Still Life with Shell (Nature morte au coquillage) 1940 Gouache, colored pencil, and charcoal on cut paper, and string, pinned to canvas 32 7/8 × 45 1/4" (83.5 × 115 cm) Private collection HENRI MATISSE (French, 1869–1954) The Dance (La Danse) 1931–33 Study for the Barnes Mural (Paris version) Gouache and pencil on paper 11 x 29 7/8" (27.9 x 75.9 cm) The Metropolitan Museum of Art.
    [Show full text]
  • Henri Matisse
    Henri Matisse Henri Matisse Ảnh Henri Matisse chụp bởi Carl Van Vechten, 1933. Tên khai Henri Matisse sinh 31 tháng 12, 1869 Sinh Le Cateau-Cambrésis, Nord- Pas-de-Calais 3 tháng 11, 1954 (84 tuổi) Mất Nice, Pháp Quốc tịch Pháp Hội họa, Đồ họa in ấn, Điều Lĩnh vực khắc, Vẽ, Nghệ thuật cắt dán hoạt động ảnh Trường phái dã thú, Chủ nghĩa Trào lưu hiện đại Tác phẩm Harmony in Red, 1908 Henri Matisse (31 tháng 12 năm 1869 - 3 tháng 11 năm 1954) là một nghệ sĩ người Pháp, nổi tiếng với khả năng sử dụng màu sắc và chất lỏng cũng như khả năng hội họa tuyệt vời và nguyên sơ. Với tư cách là một họa sĩ, nhà điêu khắc, nhà làm đồ họa in ấn. Matisse được biết đến như là một trong những nghệ sĩ nổi tiếng nhất thế kỉ 20. Ông là nhân vật tiên phong của trường phái dã thú, vào thập niên 1920, ông được coi là một trong những người nâng tầm truyền thống cổ điển trong hội họa Pháp. Tài năng của ông trong việc sử dụng ngôn ngữ màu sắc biểu cảm và khả năng hội họa đặc trưng. Henri Matisse được coi là một trong những nhân vật đi đầu trong nghệ thuật hiện đại. Mục lục 1 Các tác phẩm nổi tiếng 2 Một vài bức tranh của Matisse 3 Sách 4 Chú thích 5 Liên kết ngoài Các tác phẩm nổi tiếng Woman Reading (1894), Museum of Modern Art, Paris [1] Notre-Dame, une fin d'après-midi (1902), Albright-Knox Art Gallery, Buffalo, New York [2] The green line (1905) [3] The Open Window (1905) [4] Woman with a Hat (1905) [5] Les toits de Collioure (1905) [6] Landscape at Collioure (1905) [7] Le bonheur de vivre (1906) [8] The Young Sailor II (1906) [9] Self-Portrait
    [Show full text]
  • Discours De Coline Serreau En Hommage À Pierre Schoendoerffer
    1 Installation de Coline Serreau à l’Académie des beaux-arts Mercredi 11 décembre 2019 Hommage à Pierre Schoendoerffer Mesdames, messieurs… je vous remercie d'être venus ici aujourd'hui, famille, amis, collègues, techniciens de cinéma, acteurs, musiciens, choristes, amours anciens ou présents, amis et famille de Pierre Schoendoerffer. Je suis heureuse de vous sentir près de moi dans cette cérémonie qui va me rattacher à une compagnie dont je mesure avec gratitude, depuis plus d'un an que je la fréquente, la bienveillance à mon égard, la haute qualité artistique, et dont je me réjouis chaque mercredi de la retrouver pour discuter de nos métiers, divers en apparence, mais semblables dans leur essence, métiers auxquels nous avons consacré nos vies et que les académiciens défendent avec passion et générosité. Je vais maintenant vous parler de celui au fauteuil duquel je succède, Pierre Schoendoerffer. Pierre est un cinéaste dont l'on pourrait croire que l'œuvre est à l'opposé de la mienne. Moi fille de militants, de résistants purs et durs, qui ont commencé leur jeune vie d'adultes par le soutien aux républicains espagnols contre Franco, puis sont entrés en résistance contre les allemands, (Les trois femmes qui m'ont élevée sont aujourd'hui au Panthéon au titre des Justes parmi les nations car ayant sauvé de nombreux enfants juifs à Dieulefit dans la Drôme). Ensuite mes parents se sont insurgés contre la guerre d'Algérie, guerre d'occupation coloniale, ils ont soutenu très concrètement la résistance algérienne : Ma mère a été inculpée par
    [Show full text]