- A beginner's guide to Fauvism
- Fauve Landscapes and City Views
- André Derain, The Dance
- Matisse, Luxe, calme et volupté
- Henri Matisse, Open Window, Collioure
- Matisse, Bonheur de Vivre
- Matisse, Dance I
- Matisse, The Red Studio
- Matisse, The Red Studio
- Matisse, Goldfish
- Matisse, "The Blue Window"
- Matisse, Piano Lesson
- Matisse, Piano Lesson
- Matisse, The illustrated book, “Jazz”
- Conserving Henri Matisse's "The Swimming Pool"
- Fauvism and Matisse
Henri Matisse, The Red Studio, oil on canvas, 1911 (MoMA). Created by Beth Harris and Steven Zucker.
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- The resolution quality of this image is poor and looks pixelated. Could you put a bigger file here?(6 votes)
- This is so informative. I never considered that the line in the painting be there first and the red in the painting second. I think i will now be looking at things differently. no question just a thought and thank you for opening my eyes.(2 votes)
- At5:06, they discuss the figures (table, chair, etc...) how their form is drawn under the all consuming red, this drives at me an impression of a red quality of light and the figures almost twisted perspective feels as though this picture is capturing the artist's glances around the room. I feel this picture poses to me a statement "this is how I look at my world, see this and reflect on how you look at yours." Any similar or differing impressions?(2 votes)
- I agree! Just as our eyes are drawn around the space from one object to another, across that field of red, there is a sense that the artist is expressing the scene as a sequence of glimpses, of places he rested his eyes.(2 votes)
- Maybe Matisse actually made the red background on purpose. Although my theory is contradicting what the speakers said earlier. Red usually mean a negative thing right? What if the colored items in the Red Studio are actually the items on what he thinks IS art to himself. It was what gave light to his life that lit up his dull lifestyle. If you look closer, his creations and his materials gave a bright pop to the painting. Maybe it was his work that kept him going and what made him happy. Although that is just my opinion and interpretation on the painting. Who knows what it really means?(2 votes)
- So I think I found the quote that Steven refers to at2:45"What I dream of is an art of balance, of purity and serenity, devoid of troubling or depressing subject matter, an art which could be for every mental worker, for the businessman as well as the man of letters, for example, a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue." They briefly mention that this was somehow upsetting for people in the art world. Why?(2 votes)
- Why do some artworks have a "major" one color in it? (For the back ground.) Does it mean something?(1 vote)
- He was trying to make you think about feelings and emotions rather then oh how pretty the back ground is.(2 votes)
- And what's up with that chair back? The 2 rails on the chair back look perpendicular, not parallel, to each other. That's physically impossible -- it reminds me of the the work of M.C. Escher.(1 vote)
- I thought how people's eyes went over a surface was entirely cultural in nature? Something you had to be trained how to do? Mine observed this image in a similar eye motion that people who view a lot of web pages have their eyes sweep the image. In a "left column", "top bar" followed by a sweeping motion across of the interior that got less and less intense as I moved from top to bottom.
As per the content... it looks like an average room. No, it isn't done up like that of an interior decorator--most rooms do not look like interior decorators room. As per the "perspective issues"... most rooms do not have everything neatly lined up to perspective. Not unless you have OCD.(1 vote)
(upbeat piano music) - [Man] We're on the 5th floor of the Museum of Modern Art in New York City looking at Henri Matisse's large canvas, The Red Studio. - [Woman] There is a tradition of artists in their studio shown working. - [Man] That tradition goes back to the 17th Century. But this is interesting because Matisse is not physically represented in this room. Instead, the entire room functions almost like a self-portrait. - [Woman] He may not be here, but his surrogates are here. His works of art -- - [Man] These are not invented paintings. These are actual works of art. In fact the museum has the plate that's in the lower left on display in the center of the gallery. But Matisse is not being faithful to these works. He's changing them, he's transforming them. He's creating themes and variations on his earlier work. - [Woman] It's a difficult painting. It is saturated in red. It's not what we're expecting. And yet, I keep thinking to myself, how much more interesting this painting is than if we were to approach a naturalistic image of an artist studio. This seems much more impersonal and much more philosophical. - [Man] Virtually the entire canvass is covered with this deep red. The only exceptions are his art, the frames for his art, light coming through the curtains that have been closed, the face of the clock, a cutting of nasturtium leaves. Besides that, the only things that are not red are the lines that define the forms. - [Woman] Lines that define the architecture of the space and the furniture of the space. There's no sense of the naturalistic light coming in through a window the way we might see in an earlier painting by Matisse or in an impressionist painting of a domestic interior. - [Man] There's almost no highlight. There's certainly no shadow. Everything has been simplified and is structured by only color and line. This is very particular. Matisse did not paint white on top of red. Instead, he painted red up to the borders of the forms that he was defining. So what we might take at first as white is actually paint underneath the red. - [Woman] And that has a particular name. And that's called a reserve line. - [Man] This has to do with the impact of Matisse looking at the earlier work of Cezanne and the breaking of the traditions of Renaissance painting in the early 20th Century. - [Woman] We think about oil paint as being a kind of layering of paint. But here, it's an intentional leaving absent of paint. Which is something that we also see in the work of Cezanne. - [Man] He seems to be consciously dismantling the architecture of linear perspective. - [Woman] Which is such a crucial part of the tradition of Western painting, creating that illusion of space. And artists since the Renaissance have used a sense of atmosphere and both of those are missing here. He's given us the floor for the most part. But the line that would form the corner up to the ceiling is intentionally missing, reminding us of the flatness of the canvass. - [Man] The canvas itself is indulging in this tension between the pictorial space and the physical two dimensional surface of the canvas. - [Woman] He's playing with it. He flips back and forth like the reserve line seeming on top, but then being the paint that's underneath. Because if we look closely, we do have some orthogonals on that table. On the left corner we get a bit of a sense of space. And even the chair on the right has some orthogonals, although they don't really work spatially. But then against all of those vertical and horizontal lines, we have these lovely curvilinear forms of the nasturtiums and of that chair. Other curvilinear forms include the figures in the paintings themselves; the nude figure on the left with that swirling drapery around her, or the curving backs of the figures in the upper right. So one feels a sense of oppositions here. - [Man] Matisse is not interested in destroying space entirely. But he is interested in dismantling enough of it to make the viewer conscious of the choices that he's making. - [Woman] What really strikes me though, are those drawing tools on the lower left, because they're so close to us. And they're tipped upward, and two of them are out, almost inviting us to paint and draw ourselves. - [Man] This painting is not simply a rendering of the artist's studio. And it's clearly more than a self-portrait defined through an artist's space and artist's work. This is a painting that functions as a discussion of what it means to create a canvass after hundreds of years of Renaissance illusionism in the early 20th Century when artists like Picasso, like Cezanne, have begun to force us to rethink the conventions of the past and to invent an entirely new visual vocabulary. (upbeat piano music)