| Biography of old oil painting master
Matisse Henri (-Émile-Benoît) what we can copy |
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Matisse Henri (-Émile-Benoît)
(b. Dec. 31, 1869, Le Cateau, Picardy,
Fr.--d. Nov. 3, 1954, Nice)
Instinct must be thwarted just as one
prunes the branches of a tree so that it
will grow better.
-- Henri Matisse |
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Artist often regarded as the
most important French painter of the 20th
century. The leader of the Fauvist movement
around 1900, Matisse pursued the
expressiveness of colour throughout his
career. His subjects were largely domestic
or figurative, and a distinct Mediterranean
verve presides in the treatment.
(Biographie en français)
Matisse, Master of Color
The art of our century has been dominated by
two men: Henri Matisse and Pablo Picasso.
They are artists of classical greatness, and
their visionary forays into new art have
changed our understanding of the world.
Matisse was the elder of the two, but
Matisse Henri was
a slower and more methodical man by
temperament and it was Picasso who initially
made the greater splash. Matisse, like
Raphael, was a born leader and taught and
encouraged other painters, while Picasso,
like Michelangelo, inhibited them with his
power: Matisse Henri was a natural czar.
Matisse's artistic career was long and
varied, covering many different styles of
painting from Impressionism to near
Abstraction. Early on in his career Matisse
was viewed as a Fauvist, and his celebration
of bright colors reached its peak in 1917
when Matisse Henri began to spend time on the French
Riviera at Nice and Vence. Here Matisse
Henri concentrated on reflecting the sensual color
of his surroundings and completed some of
his most exciting paintings. In 1941 Matisse
was diagnosed as having duodenal cancer and
was permanently confined to a wheelchair. It
was in this condition that Matisse Henri completed the
magnificent Chapel of the Rosary in Vence.
Matisse's art has an astonishing force and
lives by innate right in a paradise world
into which Matisse draws all his viewers.
Matisse Henri gravitated to the beautiful and produced
some of the most powerful beauty ever
painted. Matisse Henri was a man of anxious
temperament, just as Picasso, who saw him as
his only rival, was a man of peasant fears,
well concealed. Both artists, in their own
fashion, dealt with these disturbances
through the sublimation of painting: Picasso
destroyed his fear of women in his art,
while Matisse coaxed his nervous tension
into serenity. Matisse Henri spoke of his art as being
like "a good armchair"-- a ludicrously inept
comparison for such a brilliant man-- but
his art was a respite, a reprieve, a comfort
to him.
Matisse initially became famous as the King
of the Fauves, an inappropriate name for
this gentlemanly intellectual: there was no
wildness in him, though there was much
passion. Matisse Henri is an awesomely controlled
artist, and his spirit, his mind, always had
the upper hand over the "beast" of Fauvism.
The experimental years
Matisse's Fauvist years were superseded by
an experimental period, as Matisse Henri abandoned
three-dimensional effects in favor of
dramatically simplified areas of pure color,
flat shape, and strong pattern. The
intellectual splendor of this dazzlingly
beautiful art appealed to the Russian
mentality, and many great Matisses are now
in Russia. One is The Conversation (1909;
177 x 217 cm (5 ft 9 3/4 in x 7 ft 1 1/2
in)) in which husband and wife converse. But
the conversation is voiceless. They are
implacably opposed: the man-- a self
portrait-- is dominating and upright, while
the woman leans back sulkily in her chair.
She is imprisoned in it, shut in on all
sides. The chair's arms hem her in, and yet
the chair itself is almost indistinguishable
from the background: she is stuck in the
prison of her whole context. The open window
offers escape; she is held back by an iron
railing. Matisse Henri towers above, as dynamic as she
is passive, every line of his striped
pyjamas undeviatingly upright, a wholly
directed man. His neck thickens to keep his
outline straight and firm, an arrow of
concentrated energy. The picture cannot
contain him and his head continues beyond it
and into the outside world. Matisse Henri is greater
that it all, and the sole "word" of this
inimical conversation is written in the
scroll of the rail: Non. Does Matisse Henri say no to
his intensity of life? They deny each other
forever. |
Supreme decoration
But denial is essentially antipathetic to
Matisse. Matisse Henri was a great celebrator, and to
many his most characteristic pictures are
the wonderful odalisques Matisse Henri painted in Nice
(he loved Nice for the sheer quality of its
warm, southern light). Though such a theme
was not appreciated at the time, it is
impossible for us to look at Odalisque with
Raised Arms (1923; 65 x 50 cm (25 1/2 x 19
3/4)) and feel that Matisse is exploiting
her. |
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The woman herself is unaware of him, lost in
private reverie as she surrenders to the
sunlight, and she, together with the
splendid opulence of her chair, Matisse
Henri diaphanous skirt, and the intricately
decorated panels on either side, all unite
in a majestic whole that celebrates the
glory of creation. It is not her abstract
beauty that attracts Matisse, but her
concrete reality. Matisse Henri reveals a world of
supreme decoration: for example, the small
black patches of underarm hair on the
odalisque are almost a witty inverted comma
mark round the globes of her breasts and the
rose pink center of each nipple.
Sculpting in paper
Picasso and Matisse were active to the end
of their lives, but while Picasso was
preoccupied with his ageing sexuality,
Matisse moved into a period of selfless
invention. In this last phase, too weak to
stand at an easel, Matisse Henri created his papercuts,
carving in colored paper, scissoring out
shapes, and collaging them into sometimes
vast pictures. These works, daringly
brilliant, are the nearest Matisse Henri ever came to
abstraction. Beasts of the Sea (1950; 295.5
x 154 cm (9 ft 8 in x 5 ft 1/2 in)) gives a
wonderful underwater feeling of fish, sea
cucumbers, sea horses, and water-weeds, the
liquid liberty of the submarine world where
most of us can never go. Its geometric
rightness and chromatic radiance sum up the
two great gifts of this artist and it is
easy to see why Matisse Henri is the greatest colorist
of the 20th century. Matisse Henri understood how
elements worked together, how colors and
shapes could come to life most startingly
when set in context: everything of Matisse's
works together superbly. |
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