Throughout his career, Henri Matisse used imagery as a means of engaging critically with poetry and prose by a diverse range of authors. Kathryn Brown offers a groundbreaking account of Matisse’s ...position in the literary cross-currents of 20th-century France and explores ways in which reading influenced the artist’s work in a range of media. This study argues that the livre d’artiste became the privileged means by which Matisse enfolded literature into his own idiom and demonstrated the centrality of his aesthetic to modernist debates about authorship and creativity. By tracing the compositional and interpretive choices that Matisse made as a painter, print maker and reader in the field of book production, this study offers a new theoretical account of visual art’s capacity to function as a form of literary criticism and extends debates about the gendering of 20th–century bibliophilia. Brown also demonstrates the importance of Matisse’s self-placement in relation to the French literary canon in the charged political climate of the Second World War and its aftermath. Through a combination of archival resources, art history and literary criticism, this study offers a new interpretation of Matisse’s artist’s books and will be of interest to art historians, literary scholars and researchers in book history and modernism.
Henri Matisse's experiments with form and color revolutionized the twentieth-century art world. In this concise critical biography, Kathryn Brown explores Matisse's long career, beginning with his ...struggles as a student in Paris and culminating in his celebrated use of paper cutouts and stained glass in the last decade of his life. The book challenges various myths about Matisse and offers a fresh perspective on his creativity and legacy. Chapters explore the artist's enthusiasm for fashion and cinema, his travels, personal ties, interest in African art, love of literature, and willingness to challenge audience expectations. Through close readings of Matisse's works, Brown offers new insight into the artist's friendships and battles with dealers, critics, collectors, and fellow artists.
Sin embargo, yo creo que se puede juzgar la vitalidad y el poder de un artista cuando, impresionado directamente por el espectáculo de la naturaleza es capaz de organizar sus sensaciones, e incluso ...de volver varias veces a ellas, y en diferentes momentos, continuándolas en un mismo estado de espíritu (1977, p. 60). Sin embargo, yo creo que se puede juzgar la vitalidad y el poder de un artista cuando, impresionado directamente por el espectáculo de la naturaleza, es capaz de organizar sus sensaciones, e incluso de volver varias veces a ellas, y en diferentes momentos, continuándolas en un mismo estado de espíritu. Sin embargo, el pintor no persigue de ninguna manera un único estado de espíritu que sea el mismo. Sin embargo, lo que ante todo prima, es que preguntemos en qué sentido el conocimiento pictórico puede ser legítimamente denominado conocimiento. Cómo me enseña; cómo llega a ser visible; cómo terminamos por verlo gracias a un cambio de mirada que no puede carecer de tener lugar si nosotros nos metemos en la Escuela de los ojos.
This essay aims at a re-evaluation of Henri Matisse’s Chapel at Vence. It accounts for all major elements of the chapel’s decoration, including the celebrated windows and tile drawings, but also ...probes a little-known liturgical object: the ciborium, the container of the hosts, which Matisse designed as a goldfish bowl. Whenever the ciborium is placed on the altar during Mass, it transforms the chapel space into a three-dimensional version of Matisse’s paintings of artist’s studios. The result is a space that transcends the familiar divide between secularism and reenchantment. By placing his own surrogate at the chapel’s center as the beholder of its decoration, Matisse gave form to a modern subject position for which boundless self-empowerment is indistinguishable from solipsism.
The exhibition brings together a collection of visual masterpieces, ranging from striking cut out collages and designs for books and stained glass windows to tapestries and ceramics.
Urelemente, Urwesenheiten und Ursprünglichkeiten sind fragliche Begriffe, die von dem Anthroposophen Rudolf Steiner verwendet und später von Künstlern der klassischen Moderne in Bezug auf die fern- ...und nahöstlichen Künste übertragen wurden. Künstler wie Wassily Kandinsky suchten in alten, außereuropäischen Kulturen und Traditionen neue künstlerische Formen. Kandinskys Sehnsucht nach dem ,Orient' spiegelt sich in seinen Bildern wider. ‚Orientalische' Bezüge können wie Interferenzen in seinem Werk reflektiert werden, die nachweislich aus künstlerischen und außerkünstlerischen Produktionen aus ,orientalischen' Traditionen stammen. Der vorliegende Aufsatz befasst sich mit dem Problem des Orientalismus im Zusammenhang mit der abstrakten Kunst.
Henri Matisse produced three famous "decorative landscapes" in Tangier in 1912. New documents throw fresh light on the physical and cultural milieu in which they were made. Unpublished photographs of ...Henri and Amélie Matisse in the grounds of the Senya el Hashti (Villa Brooks), Spanish army maps, and the artist's letters reveal much about this Anglo-Moroccan heterotopia and the process by which Matisse arrived at his abstracting, not quite Orientalist productions. The entrepreneurial modernist used his newfound fame and British connections to access Captain John Hay Brooks's garden, a space of aristocratic European privilege with a tragic recent history.
INVOQUER APOLLINAIRE Brown, Kathryn
Revue d'histoire littéraire de la France,
02/2021, Letnik:
121, Številka:
1
Journal Article
Recenzirano
Le livre d’artiste Apollinaire publié par Henri Matisse et André Rouveyre en 1952 est une commémoration de la vie de Guillaume Apollinaire et une déclaration des liens d’amitié qui subsistaient entre ...les trois hommes. La confluence des faits et des fictions dans ce livre contribue à la création d’un Apollinaire mythique et, en fin de compte, inconnaissable. En invoquant le spectre du poète, l’ouvrage se situe dans la tradition des livres hermétiques, et notamment dans celle des grimoires.
The artist’s book Apollinaire, published by Henri Matisse and André Rouveyre in 1952, commemorates the life of Guillaume Apollinaire and is a declaration of the enduring bonds of friendship that the three men shared. The confluence of facts and fiction in this book contributes to the creation of a mythical and ultimately unknowable Apollinaire. Invoking the specter of the poet, the work fits into the tradition of hermetic books, and in particular that of grimoires.
The humanities is devoted to a "bad picture" of intentionality. And the devotion to this picture is embraced above all by anti-intentionalists. Looking closely at the seemingly suspect commitments of ...two conceptually driven artists--Le Corbusier and Henri Matisse--Cronan shows the necessity for distinguishing between inner and outer, idea and execution, and how those terms are mutually imbricated. Failing to address "private" experience, as anti-intentionalists do, generates an inverted form of Cartesianism.
THE COVER Cole, Thomas B
JAMA : the journal of the American Medical Association,
04/2012, Letnik:
307, Številka:
14
Journal Article
Recenzirano
Cole features Henri Matisse, a French painter. Classically trained painters of 19th-Century Europe used shading, converging lines of perspective, and other techniques to create an illusion of ...three-dimensional space, but Henri Matisse (1869-1954) did just the opposite. In the paintings of Matisse there are no tiny figures or hazy trees in the distance. He was one of the first modern painters to deliberately "flatten" the perception of space in his work. Matisse was an attorney who took up painting at the age of 20 while recovering from appendicitis. When he felt well again, he gave up the legal profession and kept painting.
