Henri ÃÆ' â € ° mile BenoÃÆ'®t Matisse ( French: Ã, [I am emil December 31, 1869 - November 3, 1954) is a French artist, known for its use of color and liquid and original draughtsmanship. He is a draftsman, graphic maker, and sculptor, but is known primarily as a painter. Matisse is generally considered, along with Pablo Picasso, as one of the most helpful artists to define revolutionary developments in the visual arts during the early decades of the 20th century, responsible for significant developments in painting and sculpture.
The intense color of the works he painted between 1900 and 1905 makes him famous as one of the Fauves (wild beasts). Many of his best works were created in decades or more after 1906, when he developed a strict style that emphasized flat forms and decorative patterns. In 1917 he moved to the outskirts of Nice on the French Riviera, and the more relaxed style of his work during the 1920s earned him a critical recognition as an upholder of the classical tradition in French paintings. After 1930, he adopted the simplification of a bolder form. When poor health in his last years prevented him from painting, he created an important workforce in the medium of paper collage.
His mastery of expressive colors and colors, presented in a work spanning more than half a century, makes him recognized as a leading figure in modern art.
Video Henri Matisse
Early life and education
Matisse was born in Le Cateau-CambrÃÆ'Â sis, in the Nord department of northern France, the eldest son of a prosperous grain merchant. He grew up in Bohain-en-Vermandois, Picardie, France. In 1887 he went to Paris to study law, working as a court administrator at Le Cateau-CambrÃÆ' Â sis after obtaining a qualification. He first started painting in 1889, after his mother brought him art supplies during the recovery period after an appendectomy. He found "a kind of heaven" when he later described it, and decided to become an artist, greatly upsetting his father.
In 1891 he returned to Paris to study art in the Julian Acadà © mie and became a pupil of William-Adolphe Bouguereau and Gustave Moreau. Initially he painted life and landscape in traditional style, where he achieved a reasonable skill. Matisse was influenced by his previous masterpieces such as Jean-Baptiste-Simà ©  © in Chardin, Nicolas Poussin, and Antoine Watteau, as well as by modern artists, such as ÃÆ' â € ° douard Manet, and by Japanese art. Chardin is one of Matisse's most admired painters; as an art student he made copies of four Chardin paintings in the Louvre.
In 1896 and 1897, Matisse visited the Australian painter John Peter Russell on the island of Belle off the coast of Brittany. Russell introduced him to Impressionism and van Gogh's work, which was Russell's friend but completely unknown at the time. Matisse style changed completely. He then said "Russell is my teacher, and Russell explains the color theory to me." In 1896 Matisse exhibited five paintings in the salon Socià © à © Nationale des Beaux-Arts, two of which were bought by the state.
With the model Caroline Joblau, she has a daughter, Marguerite, born in 1894. In 1898 she married Amelia Noellie Parayre; both raised Marguerite together and had two sons, Jean (born 1899) and Pierre (born 1900). Marguerite and AmÃÆ'Â © lies are often presented as models for Matisse.
In 1898, at Camille Pissarro's suggestion, he went to London to study J. M. W. Turner's paintings and then proceeded to Corsica. Upon his return to Paris in February 1899, he worked alongside Albert Marquet and met AndrÃÆ' © Derain, Jean Puy, and Jules Flandrin. Matisse immersed himself in the work of others and owed from purchasing the work of the painter whom he admired. Jobs hung and displayed in his house include a plaster statue by Rodin, a painting by Gauguin, a picture by van Gogh, and CÃÆ' Â © zanne's Three Bathers . In terms of the structure and color of CÃÆ' Â © zanne's image, Matisse finds its ultimate inspiration.
Much of Matisse's paintings from 1898 to 1901 used the Divisionist technique he adopted after reading the Paul Signac essay, "D'Eug訨ne Delacroix au NÃÆ' Â © o-impressionism". His paintings of 1902-03, a time of material distress for the artist, are relatively grim and express a preoccupation with form. After making his first attempt on the statue, a copy after Antoine-Louis Barye, in 1899, he devoted most of his energies to working on clay, completing the Slave in 1903.
Initial painting
Maps Henri Matisse
Fauvism
Fauvism as a style began around 1900 and continued after 1910. This movement lasted only a few years, 1904-1908, and had three exhibitions. The leaders of the movement were Matisse and Andrà © Ã… © Derain. Matisse's first solo exhibition was at Ambroise Vollard's gallery in 1904, without much success. His passion for bright and expressive colors became more apparent after he spent the summer 1904 painting at St. Tropez with Neo-Impressionists Signac and Henri-Edmond Cross. In that year he painted the most important of his works in the neo-Impressionist style, Luxe, Calme et VoluptÃÆ' © . In 1905 he traveled south again to work with AndrÃÆ' © Derain at Collioure. His paintings in this period are characterized by flat forms and controlled lines, using pointillism in a less thorough manner than before.
Matisse and a group of artists now known as "Fauves" were exhibited together in a room in the Salon d'Automne in 1905. These paintings express emotions with wild, often dissonant colors, regardless of the subject's natural color. Matisse showed Open Window and Woman with the Hat in the Salon. Critics Louis Vauxcelles commented on a single statue surrounded by "orgie of pure tones" as "Donatello chez les fauves" (Donatello among beasts), referring to a Renaissance type statue that shares the room with them. His comments were printed on October 17, 1905 in Gil Blas, a daily newspaper, and entered into popular usage. The exhibition garnered harsh criticism - "Pot paint has been thrown in public", says critic Camille Mauclair - but also some good attention. When the painting chosen for special criticism, Matisse Woman with a Hat , was purchased by Gertrude and Leo Stein, the artist's morale in question increased considerably.
Matisse was recognized as the leader of the Fauve, together with Andrà © Ã… © Derain; both friendly rivals, each with his own followers. The other members are Georges Braque, Raoul Dufy, and Maurice de Vlaminck. The symbolic painter Gustave Moreau (1826-1898) was the inspirational teacher of the movement. As a professor at ÃÆ'â € cole des Beaux-Arts in Paris, he encouraged his students to think beyond the lines of formality and follow their vision.
In 1907, Guillaume Apollinaire, who commented on Matisse in an article published in La Falange, wrote, "We are not here in the presence of extreme or extremist work: Art Matisse really makes sense. " But Matisse's work at that time also received harsh criticism, and it was difficult for him to provide for his family's needs. His painting Nu bleu (1907) was burned in a statue at the Chicago Arms Show in 1913.
The decline of the Fauvist movement after 1906 did not affect Matisse's career; many of his best works were created between 1906 and 1917, when he became an active part of a large collection of artistic talent at Montparnasse, although he did not quite fit, with his conservative looks and rigorous bourgeois work habits. He continues to absorb new influences. He traveled to Algeria in 1906 studying African art and Primitivism. After seeing the great Islamic art exhibition in Munich in 1910, he spent two months in Spain studying the Moorish art. He visited Morocco in 1912 and again in 1913 and while painting at Tangiers he made several changes to his work, including his use as black. The effect on Matisse's art is new courage in the use of intense and unmodulated colors, as in L'Atelier Rouge (1911).
Matisse has a long relationship with the Russian art collector, Sergei Shchukin. He created one of his masterpieces La Danse exclusively for Shchukin as part of a commission of two paintings, another painting is Music, 1910. Early versions of La Danse > (1909) is in the collection of The Museum of Modern Art in New York City.
Selected works: Paris, 1901-1910
Statue
Gertrude Stein, AcadÃÆ' Â © nie Matisse , and Cone's sister
Around April 1906 he met Pablo Picasso, who was 11 years younger than Matisse. Both become lifelong friends as well as rivals and are often compared. One of the main differences between them is Matisse's drawing and painting of nature, while Picasso is much more likely to work than imagination. The subject most often painted by both artists is female and still alive, with Matisse more likely to put his figure in a fully materialized interior. Matisse and Picasso were first put together in the Paris salon Gertrude Stein and his friend, Alice B. Toklas. During the first decade of the 20th century, the Americans in Paris - Gertrude Stein, his brothers Leo Stein, Michael Stein and Michael's wife, Sarah - were collectors and supporters of important Matisse paintings. In addition to two of Gertrude Stein's American friends in Baltimore, Cone Claribel and Etta's sisters, became Matisse and Picasso's chief patron, collecting hundreds of their paintings and drawings. The Cone Collection is now on display at the Baltimore Museum of Art.
While many artists visit Stein's salon, many of these artists are not represented among the paintings on the walls at 27 rue de Fleurus. Where Renoir's works, CÃÆ'Â © zanne, Matisse, and Picasso dominate the collection of Leo and Gertrude Stein, Sarah Stein's collection mainly emphasizes Matisse.
Leo and Gertrude Stein's contemporaries, Matisse and Picasso became part of their social circle and routinely joined the meeting that took place on Saturday night at 27 rue de Fleurus. Gertrude connects the start of the evening salon to Matisse, commenting:
"The more often, people start visiting to see the paintings of Matisse - and CÃÆ' © zannes: Matisse brings people, everyone brings someone, and they come anytime and it starts to become a nuisance, and that way this Saturday night it starts.
Among acquaintances of Pablo Picasso who also often attended Saturday night were: Fernande Olivier (Mrs Picasso), Georges Braque, Andrà © Å © Derain, poet Max Jacob and Guillaume Apollinaire, Marie Laurencin (Apollinaire's mistress and artist in its own right), and Henri Rousseau.
His friends arrange and finance AcadÃÆ' Â © nie Matisse in Paris, a private and non-commercial school where Matisse instructs young artists. It operated from 1907 to 1911. Initiatives for the academy came from Steins and the DÃÆ'Â'miers, with the involvement of Hans Purrmann, Patrick Henry Bruce and Sarah Stein.
Matisse spent seven months in Morocco from 1912 to 1913, producing about 24 paintings and many pictures. The orientation topics that often arise from the later paintings, such as the odalisque, can be traced in this period.
Selected works: Paris, 1910-1917
After Paris
In 1917, Matisse moved to Cimiez on the French Riviera, a suburb of Nice. His work for a decade or more after this relocation shows the relaxation and softening of his approach. This "return to order" is characteristic of many post-World War I period art and can be compared to Picasso and Stravinsky neoclassicism as well as its return to Derain's traditionalism. His orientalist odalis painting is characteristic of the period; while the work is popular, some contemporary critics consider it superficial and decorative.
In the late 1920s, Matisse was once again involved in an active collaboration with other artists. He works with not only French, Dutch, German, and Spanish, but also some Americans and recent American immigrants.
After 1930 new powers and simplifications were more daring to appear in his work. American art collector Albert C. Barnes convinced him to produce a great mural for the Barnes Foundation, The Dance II , completed in 1932; The Foundation has several dozen other Matisse paintings. This step toward simplification and shadow cutting techniques is also seen in his paintings of Large Reclining Nude (1935). Matisse worked on the painting for several months and documented its progress with a series of 22 photographs he sent to Etta Cone.
Year of war
Matisse's wife, Amelia lied, suspected that she had an affair with her young Russian friend, Lydia Delectorskaya, ended their 41-year marriage in July 1939, dividing their property equally among them. Delectorskaya attempted suicide by shooting himself in the chest; amazingly, he survived without serious side effects, and instead returned to Matisse and worked with him for the rest of his life, running his household, paying bills, typing correspondence, keeping meticulous notes, assisting in the studio and coordinating business dealings.
Matisse visited Paris when the Nazis invaded France in June 1940 but made it back to Nice. His son, Pierre, then a gallery owner in New York, begged him to escape while he could. Matisse was about to leave for Brazil to escape the Occupation but changed his mind and remained in Nice, in Vichy France. "It seems to me that I will leave it," he wrote Pierre in September 1940. "If everyone of any value left France, what's left of France?" Although he was never a member of the resistance, it became a pride for the occupied French that one of their most recognized artists chose to stay, though naturally, to be non-Jewish, he had that choice.
While the Nazis occupied France from 1940 to 1944, they were more lenient in their attacks on the "art of degeneration" in Paris than in the German-speaking countries under their military dictatorship. Matisse was allowed to exhibit together with former Fauves and other Cabbages originally accused by Hitler, albeit without a Jewish artist, all his works have been cleared of all French museums and galleries; every French artist exhibiting in France must sign an oath to guarantee their "Aryan" status - including Matisse. He also works as a graphic artist and produces black-and-white illustrations for several books and over a hundred original litographs at Mourlot Studios in Paris.
In 1941, Matisse was diagnosed with duodenal cancer. Surgery, though successful, resulted in serious complications that made it almost dead. Lie in bed for three months resulted in him developing a new art form using paper and scissors.
That same year, a nursing student named Monique Bourgeois responded to an ad placed by Matisse for a nurse. Platonic friendship developed between Matisse and Bourgeois. He finds out that he is an amateur artist and taught him about perspective. After Bourgeois left the position to join the monastery in 1944, Matisse occasionally contacted him to request that he imitate him. Bourgeois became a Dominican nun in 1946, and Matisse painted a chapel in Vence, a small town he had moved in 1943, in his honor.
Matisse remained for the most part isolated in southern France during the war but his family was very close to the French resistance. His son, Pierre, an art dealer in New York, helped the Jewish and anti-Nazi French artists he represented to escape French occupation and enter the United States. In 1942, he held an exhibition in New York, "Artist in Exile," which became legendary. Matisse's estranged wife, Amelie, was a typist for the French Underground and was imprisoned for six months. Matisse was shocked when she heard that her daughter Marguerite, who had been active in RÃ © union during the war, was tortured (almost dead) by the Gestapo in Rennes prison and sentenced in the RavensbrÃÆ'¼ck concentration camp in Germany. Marguerite managed to escape from the train to RavensbrÃÆ'¼ck, which was stopped during Allied air raids; he survived in the jungle amid the chaos of the closing days of the war, until being rescued by fellow opponents. Matisse's disciple, Rudolf Levy, was killed in the Auschwitz concentration camp in 1944.
Last year
Cut-out
Diagnosed with stomach cancer in 1941, Matisse underwent surgery that kept her chairs and bed bound. Painting and sculpture have become physical challenges, so he switched to a new kind of medium. With the help of his assistant, he began to make collage cut paper or decoupage. He will cut the sheet of paper, pre-painted with gouze by his assistant, into various shapes of color and size, and arrange it to form a living composition. Initially, these pieces are simple in size, but eventually turn into a mural or a work of room sized. The result is a different and dimensional complexity - an art form that is not sufficiently painted, but not sufficiently sculptured.
Although the piece of paper is Matisse's main medium in the last decade of his life, his first use of footage in this technique was in 1919 during the decoration design for Le chant du rossignol, an opera made by Igor Stravinsky. Albert C. Barnes arranged for cardboard templates to be made from unusual dimensions of the walls in which Matisse, in his studio in Nice, improved the composition of painted paper forms. Another cut-out group was made between 1937 and 1938, while Matisse was working on the stage sets and costumes for Ballet Russes Sergei Diaghilev. However, just after the operation, lying in bed, Matisse began to develop cut-out techniques as his own form, not the previous utilitarian origin.
He moved to the top of the hill Vence in 1943, where he produced his first major cut-out project for his artist book titled Jazz . However, this cutout is conceived as a design for stencil prints for viewing in a book, not as an independent pictorial work. At this point, Matisse still considers cut-outs as separate from his main art form. His new understanding of the media lies with the introduction of 1946 for Jazz . After summarizing his career, Matisse refers to the possibilities offered by the cut-out technique, insisting "An artist should not be a prisoner of himself, a prisoner of style, a prisoner of reputation, a prisoner of success..."
The number of independently conceived cut-outs continues to increase following Jazz , and ultimately leads to the creation of mural-sized works, such as Oceania the Sky and Oceania Sea in 1946. Under Matisse's direction, Lydia Delectorskaya, her studio assistant, loosely embraced the silhouette of birds, fish and marine vegetation directly into the walls of the room. Two pieces of Oceania, his first cut on this scale, evoked a trip to Tahiti he had made several years earlier
Chapel and museum
In 1948, Matisse began preparing designs for Chapelle du Rosaire de Vence, enabling her to extend this technique in a truly decorative context. The experience of designing chapel windows, chasubles, and tabernacles - all planned using cut-out methods - has the effect of consolidating the medium as its main focus. Finishing his final painting in 1951 (and the last sculpture of the previous year), Matisse made use of cut-out paper as a single medium for expression until his death.
This project is the result of a close friendship between Matisse and Bourgeois, now Sister Jacques-Marie, even though he is an atheist. They met again at Vence and started a collaboration, a related story in his 1992 book Henri Matisse: La Chapelle de Vence and in the 2003 documentary "A Model for Matisse".
In 1952 he founded a museum dedicated to his work, the Matisse Museum at Le Cateau, and this museum is now the third largest Matisse collection in France.
According to David Rockefeller, Matisse's last work is a design for colored glass windows installed at Union Church of Pocantico Hills near the Rockefeller estates in northern New York City. "It was his last artistic creation, maquette was on his bedroom wall when he died in November 1954", writes Rockefeller. Installation was completed in 1956.
Matisse died of a heart attack at the age of 84 on November 3, 1954. He was buried in the cemetery of Monastà © re Notre Dame de Cimiez, near Nice.
Legacy
Matisse's first painting acquired by the public collection is Still Life with Geraniums (1910), exhibited in Pinakothek der Moderne.
The Plum Blossoms (1948) was purchased on September 8, 2005 for the Museum of Modern Art by Henry Kravis and the new president of the museum, Marie-JosÃÆ'Â © e Drouin. Estimated price is US $ 25 million. Previously, it had not been seen by the public since 1970. In 2002, a Matisse sculpture, Lying Nude I (Dawn), sold for US $ 9.2 million, a record for sculptures by artists.
Princess Matisse, Marguerite, often helps Matisse's scientists with insight into her working methods and work. He died in 1982 while compiling a catalog of his father's work.
Matisse's son, Pierre Matisse (1900-1989) opened a gallery of modern art in New York City during the 1930s. Gallery Pierre Matisse, active from 1931 to 1989, represents and exhibits many European artists and some Americans and Canadians in New York often for the first time. Joan MirÃÆ'³, Marc Chagall, Alberto Giacometti, Jean Dubuffet, Andrà © Derain, Roszak, Raymond Mason, and Reg Butler, and several other important artists, including the work of Henri Matisse.
Henri Matisse's grandson, Paul Matisse is an artist and inventor who lives in Massachusetts. Matisse's great-grandson Sophie Matisse is active as an artist. Les Heritiers Matisse serves as the official Estate. U.S. copyright representation for Les Heritiers Matisse is the Artists Rights Society.
Recent exhibits
Henri Matisse: The Cut-Outs are on display at Tate Modern London, from April to September 2014. The show is the largest and widest of cut-outs ever installed, including about 100 paper papers-- borrowed from international public and private collections - as well as a selection of related drawings, prints, picture books, stained glass, and textiles. Altogether, this retrospective features 130 works covering the practice from 1937 to 1954. The Tate Modern show is the first in its history to attract more than half a million people.
Source of the article : Wikipedia
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