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"Matisse, Henri, 1869-1954."
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Henri Matisse
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.
eBook
Matisse : radical invention, 1913-1917
This book examines the working method, experimental techniques, and compositional choices Matisse used in works created between 1913 and 1917. The works that Henri Matisse (1869-1954) executed between late 1913 and 1917 are among his most demanding, experimental, and enigmatic. Often sharply composed, heavily reworked, and dominated by the colors black and gray, these compositions are rigorously abstracted and purged of nearly all descriptive detail. Although they have typically been treated as unrelated to one another, as aberrations within the artist's oeuvre, or as singular responses to Cubism or World War I, this book reveals the deep connections among them.
BOOK
Women and men and public space: Hilda Rix Nicholas and Henri Matisse in Morocco
Oh how you would have loved being with me Today in the big Soko ... camels with their humps discretely covered by decorative striped rugs and straw mats and baskets gaily draped Horses and mules, with gay trappings-patient wee gray donkeys bearing huge bundles and baskets filled with charcoal, which was held compact within twigs of green and a primitive net of string.
Journal Article
Henri Matisse: cutting into colour
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.
Journal Article
The iridescence of birds : a book about Henri Matisse
\"If you were a boy named Henri Matisse who lived in a dreary town in northern France, what would your life be like? Would it be full of color and art? Full of lines and dancing figures? Find out in this ... picture book about one of the world's most famous and influential artists\"--Amazon.com.
Book
Matisse at the Senya el Hashti: Diplomacy and Decoration in an Anglo-Moroccan Garden
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.
Journal Article
Henri's scissors
\"When Henri Matisse was a boy, he drew pictures everywhere. And when he grew up, he became a famous artist whose paintings were beloved around the world. Them late in life, a serious illness confined Henri to just his bed and a wheelchair. But amazingly, from there he created some of his finest works , the enormous and breathtaking paper cut-outs.\"--Jacket flap.
Book
HENRI MATISSE. APUNTES DE UN PINTOR 1
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.
Journal Article