An overview of the career development of Henri Matisse and his contributions to modern art.
Written in 2004; 2,131 words; 3 sources; MLA; $ 66.95
Paper Summary:
This paper looks at the development of one of the greatest modern artists, Henri Matisse, focusing on his use of and innovation with colour. The paper is comprised of three sections, each containing analysis of key works. The first section looks at the artist's beginnings and his work to 1904 and how the unconventional 'fauve' actually undertook nearly ten years of academic training, studying under Bougereau and Moreau. The section also discusses Matisse's 1896 trip to Brittany, where he was introduced to Impressionism. Section two discusses Fauvism, Matisse's radical answer to a stagnating art world, stressing quantity and intensity of color and aiming not at description but expression. The third section considers the aftermath of Fauvism and Matisse's first masterpiece, "Le Bonheur de Vivre", and revisits the prophecy of van Gogh, that the future painter will achieve something with colour that 'has never yet been.'
Outline
Beginnings to 1904
Fauvism
The Fruits of Fauvism
From the Paper:
"From this period until 1904, Matisse worked in various styles on a small range of subjects, always eager to learn more about painting. On Pissarro's advice, he went to England on his honeymoon in 1898 to see the work of Turner, in whose work he saw evidence that the old ways of painting could be successfully abandoned. Matisse and Derain, whom he had met in 1899, went south to St. Tropez to study Neo-Impressionism, and his stylistic exploration came to be guided by Divisionism. Many art historians often see this five year period of experimentation as culminating in his Luxe, Calme, et Volupte of 1904-05, which was exhibited at the Salon des Independants. The work aroused mixed responses, but the Neo-Impressionists were pleased, and Signac promptly bought the work. To me, though, the painting is the least of Matisse's accomplishments in this period. Even by Divisionist standards it is an awkward attempt, and he is clearly not at home in this technique. Again, it says nothing for Matisse as a colourist. "
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