Download Ebook Matisse: Radical Invention, 1913-1917
Download Ebook Matisse: Radical Invention, 1913-1917
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Matisse: Radical Invention, 1913-1917
Download Ebook Matisse: Radical Invention, 1913-1917
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Review
"This catalogue marshals contemporary technology to reveal in even greater detail than Matisse could have imagined the extent of his astonishing artistic inventiveness during this brief yet critical period."—M. T. Simms, CHOICE (M. T. Simms CHOICE)"Richly informative. . . . Visually striking. . . . If you are a fan of Matisse and want to go inside his painstaking step-by-step artistic process, I urge you to buy the book and read its expert investigations."—Tom Mullaney, ArtsAndAbout.com (Tom Mullaney ArtsAndAbout.com)
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About the Author
Stephanie D’Alessandro is the Gary C. and Frances Comer Curator of Modern Art at the Art Institute of Chicago. John Elderfield is the Chief Curator Emeritus of Painting and Sculpture at the Museum of Modern Art.
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Product details
Hardcover: 368 pages
Publisher: Yale University Press; 1 edition (April 27, 2010)
Language: English
ISBN-10: 0300155271
ISBN-13: 978-0300155273
Product Dimensions:
9.8 x 1.2 x 12.8 inches
Shipping Weight: 6 pounds (View shipping rates and policies)
Average Customer Review:
4.4 out of 5 stars
9 customer reviews
Amazon Best Sellers Rank:
#1,125,936 in Books (See Top 100 in Books)
This book is the catalogue for the current exhibition at the Art Institute of Chicago, which will then travel to Moma in NYC. It is the first study to have exclusively focused on a crucial timespan in Matisse's career, the years from 1913 to 1917, when the artist experimented with all sorts of styles, techniques and materials, culminating in a major body of works verging on abstraction, such as the Morrocans, French Window at Collioures or Bathers by a River. The aim of the book is to show how and why Matisse came up with such revolutionary works, the influences he was subjected to (from other artists, such as Cézanne or the Cubists, but also from outside events, namely WWI) and how these works relate to each other (especially the back and forth movement of strict or lushful colors, the artist alternately producing ascetic works almost entirely black and gray and others richly colored).Richly documented (here I would like to point out, on pages 32-37, a very interesting glossary of technical terms that helps the reader delve into Matisse's craft and discover some of his secrets), full of marvelous illustrations and, most of all, replete with magnified details of the works which emphasize Matisse's working process (what he would later call, in a 1952 interview with Tériade, the "methods of modern construction"), this is a high-quality publication, a groundbreaking study which I strongly recommend to anyone interested in the origins and the making of modern art.
Abstract Art is a well-established medium in the visual arts, but there are many viewers who, while pondering a great work of art, still have difficulty in understanding the concept of the abstract presentation. For those viewers, the exhibition "Matisse: Radical Invention 1913-1917" is THE primer for understanding this difficult, intricate but wholly satisfactory form of visual expression. The exhibit was mounted in 2010 jointly by the Art Institute of Chicago and the Museum of Modern Art in New York. That exhibit has now closed, but fortunately, the two museums put together a catalogue that should be in the library of every lover of art. The exhibit and the catalogue focus on a specific time period, 1913-1917, in the evolution of Matisse's art. But in fact the colorful reproductions and the highly articulate essays in the catalogue contribute a lot to the understanding of abstract art, from Picasso and Matisse to Jackson Pollock and Willem de Kooning and beyond. Abstract art involves a number of issues, including color, composition, design, line, form and perspective. Some abstract artists take apart their subjects and then reconstruct them on canvas or as sculpture into their own interpretation of the meaning of the subject. Other artist artists strip their subjects down to their very basic components, leaving the viewer with just a suggestion of the subject, encouraging the viewer to interpret the subject as he or she sees fit. The expressionists let their emotions and their thoughts guide them as they try to paint what they see. Abstract art can be traced back into the 19th century (Turner, Cezanne and Whistler), but the two most important founders of the genre were Matisse and Picasso. The Matisse work presented in the catalogue of the recent exhibit in New York and Chicago zeroes in like a laser beam on a 5-year period early in Matisse's career. Consider Matisse's View of Notre Dame, an oil on canvas painting measuring nearly three by five feet. Matisse painted it in 1914, but he didn't exhibit until 1949 when critics dismissed the work as an "unfinished sketch to which Matisse had unaccountably signed his name." In fact, View of Notre Dame is an exquisite painting, now considered one of Matisse's most important works, and the catalogue devotes four full pages to a discussion of how the painting evolved. Matisse had a studio at the quai Saint Michelle that gave him a view of Notre Dame Cathedral, and he painted that view numerous times, some included in the catalogue's analysis. But in the painting under discussion here, Matisse had refined the view down to a vague shape that resembled the twin towers of the cathedral, a few black lines that outlined the streets and the Seine River, and a single green mass that starkly represents the trees along the riverbank. The dominant color is a blue wash obscures the details even further. Like most works in this catalogue, the study of the View of Notre Dame included an infrared examination of the work to see how Matisse developed such a masterpiece. The infrared examination shows us "the extent to which the linear scaffolding was drawn and redrawn, rubbed and scarped back and all but erased, yet still forms the sedimented memory of the work's creation." Far from being an unfinished sketch, the overall composition has captured the essence of the venerable cathedral that has symbolized Parisian culture for centuries. The catalogue considers dozens of works by Matisse in a similar manner, including the Art Institute's masterpiece, Bathers by a River. Each discussion adds to the comprehension of not only Matisse's early work but the overall meaning of abstract art in general. We are, literally, taught how to appreciate the techniques of abstract art and how the great abstract painters developed their masterpieces. The experience of reading and considering this catalogue is, in a word, enlightening.
Matisse's work from 1910-1917 has fascinated me for years but is rarely the focus of an entire monograph, so I was glad to find this book. There are many images of paintings from the period in fine color, and the book includes archival photographs of some works in various stages of completion (Bathers is especially well-documented). The authors are able to describe the development of each painting based on information gained from x-rays and infrared technology. Matisse experimented a great deal with composition before arriving at the finished painting, and this information provides a great deal of insight into his working methods. A worthwhile purchase.
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