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The Path of Colour: Henri Matisse, 2004.
An overview of the career development of Henri Matisse and his contributions to modern art.
2,131 words (approx. 8.5 pages), 3 sources, MLA, $ 66.95
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Abstract
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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Artist Henri Matisse, 2005.
This paper discusses artist Henri Matisse and analyzes two of his paintings: "The Blue Nude" (1907) and "The Red Studio" (1911).
1,810 words (approx. 7.2 pages), 2 sources, MLA, $ 58.95
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Abstract
This paper explains that, although Henri Matisse and Picasso are noted as two of the greatest artists of the 20th century, Matisse, whose career spanned many decades, was always humble about his art especially his origins as an artist. The author points out that his work did not show natural items; instead, he attempted to capture emotions, sensations and the experience of his subjects, which very often took on a life of their own and looked more like caricatures rather than real subjects. The paper relates that Matisse is know for his vivid colors and one-dimensionality as seen in his paintings "The Blue Nude" and "The Red Studio".
From the Paper
"In "The Red Studio," Matisse's use of color, imagination, and freedom of expression are all abundantly clear. In the one-dimensional work, detailed paintings clutter the walls, giving a sense of space and yet seeming closely confined at the same time. That is one very interesting aspect of Matisse's work throughout his career. His work was all flat and one-dimensional, and yet it did not seem flat or uninteresting at all. Critic Danto continues, "In 'The Red Studio' we see a corner, but the color of the walls, which meet at right angles, is uniform, as if they stood in the same plane."
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Henri Matisse, 2004.
A biography of the life and influences of the French painter, Henri Matisse.
1,377 words (approx. 5.5 pages), 6 sources, MLA, $ 46.95
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Abstract
This paper looks at the life of Henri Matisse, born in 1869 in the north of France. It explores how, unlike many artists of the turn of the century and during the two world wars, Matisse remained steadfast in his attention to the same subjects he had always painted: interiors; landscapes; and people. It shows how he never gave up his intense palette in favor of the muddy and neutralized colors favored by the disillusioned and discontent, despite the near-abstract qualities of his paintings in his later years.
From the Paper
"In fact, there is very likely to have been a direct influence by Signac?s work on Matisse?s decision to paint Le Bonheur. In 1895, Signac had displayed the painting he regarded as his masterpiece at the Salon des Independants. The painting, In the Time of Harmony, was a large allegorical composition setting forth Signac?s anarchist beliefs. (Hughes, date unknown) That sort of ideation and the subject matter needed to convey it would not have been appealing to Matisse, as apolitical as he was. But Matisse was interested in the concepts of Baudelaire, who attempted to reconcile the distressing portions of the ?modern age? with an idealized antiquity."
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Henri Matisse, 2005.
An analysis of painter and sculptor Henri Matisse and how his work demonstrates that he was the most premier Fauvist of his time.
847 words (approx. 3.4 pages), 3 sources, APA, $ 30.95
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Abstract
This paper describes some of the artistic works of Henri Matisse and explains why his technique, use of color, movement and texture gave him a reputation as the main exponent of Fauvism of his time.
From the Paper
"It is relatively simple to understand how Matisse escaped from the confines of the Impressionists, for all one has to do is view his paintings and explore with the eyes all the subtle and beautiful manifestations within his Fauvist renderings. But in regard as to why he decided to adopt the Fauvist philosophy is less understood unless one listens to the words of Matisse himself-"What I am after, above all, is expression. . . I am unable to distinguish between the feeling I have for life and my way of expressing it. . . The whole arrangement of my picture is expressive. . . everything plays a part. Composition is the art of arranging in a decorative manner the various elements at the painter's disposal for the expression of his feelings. . . All that is not useful. . . is detrimental" (Chipp 131-32)."
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Henri Matisse, 2004.
Discusses the life and works of artist Henri Matisse.
897 words (approx. 3.6 pages), 2 sources, MLA, $ 31.95
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Abstract
This paper provides biographical information on artist Henri Matisse and discusses his artistic career. Several of Matisse's works of art are reviewed, and influences on his work are discussed, as well as the influence that Matisse has had on the world of art today.
From the Paper
"Henri Matisse (1869?1954), a painter, draughtsman, sculptor, printmaker, designer and author, came into the world of art comparatively late in his life and made his reputation as the main exponent of fauvism, the first avante-garde artistic movement of the 20th century. As Russell T. Clement points out, fauvism ?was influenced by non-European cultures that were part of the new colonial dominions as found in Africa, Polynesia and Central and South America which encouraged more personal forms of expression than had been known in the West? (89). His career seems to have begun in 1891 when Matisse registered at the Academie Julian and prepared for the entrance exam to the Ecole des Beaux-Arts despite his father?s objections to set his life course on the study of art. In 1892, Matisse was invited to join the studio of Gustave Moreau and he remained here until his marriage to Amelie Parayre in January of 1898."
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Henri Matisse, 2002.
A look at the evolution of Henri Matisse's painting throughout his lifetime.
1,150 words (approx. 4.6 pages), 4 sources, $ 44.95
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Abstract
This paper examines how Henri Matisse evolved in his painting over his lifetime. A paradoxical pattern is found since his work evolved dramatically, but certain features of it never changed.
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What Influenced Henri Matisse from 1900-1910, 2002.
This paper discusses the influences of Henri Matisse during the period 1900-1910.
2,400 words (approx. 9.6 pages), 9 sources, $ 89.95
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Abstract
Matisse was the founder and of course, leader of Fauvism which itself was influenced by names like Van Gogh and Cezanne. Although the movement did not last long, Matisse developed his own unique style that is still remembered as one that had to do primarily with bright colors.
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Henri Matisse, 2000.
The life, career, style, works, subjects and use of color of the 19th-20th entury French impressionist painter.
1,350 words (approx. 5.4 pages), 3 sources, $ 47.95
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From the Paper
"The career of Henri Matisse (1869-1954), who is often considered to be the greatest French painter of the twentieth century, had several important stages. His first major works were identified with the group of artists known as the Fauves (or "wild beasts") because of their violent colors and their nonrealistic treatment of space and form. In Matisse's middle phase he retreated to somewhat more realistic representations of sunny Mediterranean scenes and became more interested in creating patterns than in breaking down the relationships between forms and space. But, at the end of his life, Matisse once again rejected standard types of representation and worked with paper cutouts, creating works that focused on the effects of movement, color, and shape.
Matisse did not show any interest in art in childhood or..."
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Henry the Just or Henry the Strong, 2003.
A discussion of two film interpretations of Shakespeare's "King Henry the Fifth".
1,782 words (approx. 7.1 pages), 0 sources, $ 57.95
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Abstract
Lawrence Olivier and Kenneth Branagh both produced film versions of Henry V, but they were both very different interpretations. This paper concentrates on Act I Scene I and discusses both directors' editing of the original play and how that affected the portrayal of "King Henry V".
From the Paper
"A good king is a moral one who listens to his advisors, who fights only just wars and who has overcome youthful wildness to emerge as a man ?full of grace and fair regard? (1.1.22). Or, a good king is a strong one who makes his own decisions, who fights any wars that benefit his country, and who has never had any youthful wildness to overcome. Shakespeare leaves the interpretation of his king in King Henry the Fifth to the audience, and Henry?s character has subsequently been performed in multiple ways. Lawrence Olivier and Kenneth Branagh both portray Henry as a good king in their screen adaptations of the play, but Olivier tends towards the former version of Henry as the morally just king and Branagh is more inclined to the latter version of Henry as the strong but immoral king."
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Matisse and the Fauves, 2005.
A look at painter Henri Matisse, the leader of the Fauve artist group, focusing on his painting "The Goldfish".
1,120 words (approx. 4.5 pages), 5 sources, APA, $ 38.95
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Abstract
This paper discusses how Henri Emoile Matisse, born in 1869, is regarded as one of the great formative figures in 20th-century art, as well as the leader of the Fauve group. It explains that Fauvism is defined as an early-20th-century movement in painting begun by a group of French artists and marked by the use of bold, often distorted forms and vivid colors. It points that Matisse was associated with this group due to his use of vivid colors, as well as his unusual style of presenting objects. This paper analyzes an example of this art form "The Goldfish" by Matisse.
From the Paper
"Many critics at this time called him, as well as other artists with similar styles, "a disgrace for art and therefore called them 'The Fauves'. The Fauves means 'Wild Beasts', a name that the artists of the group accepted with pride." The main goals of the artists in this movement were to break away from the rigid Impressionist movement, and begin using bolder colors, as well as their own interpretations of shapes. The work of Matisse is based on the principals and possibilities of 'leaving out'. The human mind can fill in what is missing in the painting, like dimension, details and plastical forms. The Fauves expressed their feelings of joy for life and joy for art and painting. Fauvism paved the way for future styles of art, and was considered radical in the early 20th century."
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Matisse, 2002.
Examines traces of different styles of art from various periods in Henri Matisse's 1911 painting "The Red Studio."
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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Abstract
Examines traces of different styles of art from various periods in Henri Matisse's 1911 painting "The Red Studio." Indirect and direct influences, including Mary Cassatt, Van Gogh and other Post-Impressionists, Greek vase painting, High Gothic and Early Renaissance one-point perspective. Matisse's artistic purpose in the painting. Use of color as expression.
From the Paper
"It is possible to detect traces of several different styles of art from various periods in Henri Matisse's 1911 painting Red Studio (oil on canvas, 71 1/4" x 86 1/4"). In some cases these traces are the sign of direct influence. An example of this is the influence of artists, such as the nineteenth century painter and printmaker Mary Cassatt, who first integrated ideas from Japanese art into the Western tradition. A second example of an immediate influence is the use of intense, unusual colors as a means of emotional expression found in the work of Vincent van Gogh and other Post-Impressionist painters. Other relationships between Red Studio and earlier art seem to be purely coincidental. The simple lines of many of the objects in Matisse's painting, for example, bear similarities to Greek red-figure vase painting from the early classical era. But there are ..."
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Henry Adams's "The Education of Henry Adams".
This paper reviews Henry Adams's "The Education of Henry Adams; Henry Adams was the grandson of John Quincy Adams and the great-grandson of John Adams.
1,770 words (approx. 7.1 pages), 0 sources, $ 57.95
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Abstract
This paper explains that Henry Adams's "The Education of Henry Adams" is subtitled as a biography, but doesn't actually tell the story of Henry Adams life; instead, it looks at how he developed his mental ideas and opinions based on historical, political, and philosophical contemplation of the things that were going on during his time. The author points out that, in the "The Education of Henry Adams," Adams places a great deal of criticism on himself and the entire world, which can be very satiric and biting, but there is warmth and humor contained within the book. The paper relates that one small downside to the book is that Adams appears to generalize everything to the point that it often appears he is lumping too many individuals together and does not allow various individual opinions to actually come through.
From the Paper
"Much of what the book has to offer, however, deals with the power that was had at the time by Christianity and the church and how this power was changed and forced into submission by Darwin's theory of evolution, and much of the power that technology had over individuals during that time. To discuss technology, Adams mentions the Paris exposition that he attended in 1900 and the dynamos that were present there. After he saw this type of technology coming to the front the also realized that Darwinism was causing so much chaos in the world and he felt that there was so much power in technology that the church was not able to withstand the onslaught."
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The Colour Green, 2006.
A discussion regarding the perception and symbolism of the colour green.
1,575 words (approx. 6.3 pages), 4 sources, $ 62.95
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Abstract
This essay explores the cultural and social dimensions of the color green. The color green is often associated with sensations that could be described as soothing, healing, leisurely, and peaceful. This paper goes on to discuss how symbolically, green can also be a mixed metaphor of sorts in that, while someone can use it to say they are in the money, it can also be indicative of a lack of experience, rage, hate, or envy.
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"King Henry IV" and "King Henry V", 2002.
Examines fraud, theatricality and politics in Shakespeare's "King Henry IV" (parts one and two) and "King Henry V".
3,930 words (approx. 15.7 pages), 18 sources, MLA, $ 107.95
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Abstract
The falsification of the audience?s expectations and Hal?s miraculous emergence as a great English king, alongside the Hal-Falstaff relationship out of which the future king?s identity is gradually constructed, are the main critical puzzles in most studies of the William Shakespeare's "King Henry" series. The paper examines concepts of fraud and politics in parts one and two of "King Henry IV" and in "King Henry V". It discusses notions by literary critics such as Stephen who claim that Hal is one of Shakespeare?s most Machiavellian characters. The paper argues that Machiavelli?s Prince is not sufficiently cruel or sophisticated to be ranked with Prince Hal, despite the fact that Falstaff?s cry for help, voiced in his paradoxical accusation that the Prince has corrupted him, seldom succeeds in inverting the audience?s impression that Falstaff is Hal?s misleader.
From the Paper
"The concept of necessity, as it arises from the morality-patterned Phychomachia, reinforces providentialist notions, an idea first advanced by Tillyard but in a rather different context. Religious providentialism fuses the personal and political domains and Hal?s borrowing from the theatrical and diachronic anthropological deposit causes the interweaving of theatrical illusion with politics, thus displaying their common structural patterns. The fusion of religion, politics and theatre culminates in Hal?s gradual conversion to virtue, which is at once a milestone in Hal?s allegedly privileged relationship with God, a major political event, and a stock trick of Elizabethan drama."
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