Can A Wireless Mouse Use Any Dangle

Henri MATISSE

Henri Matisse. Open Window at Collioure. Summer 1905. 55 X 46. Private Collection

Henri Matisse. La Femme au chapeau. 1905. 80, 7 X 59.7. San Srancisco, San Francisco Museum of Modern Art

MAURICE DENIS THE ART OF HENRI MATISSE

But our time produces little more than another exceptional individuals. There is little real originality. The are many imitators. They are divided into groups: there is the school of Cézanne, School Guerin, Matisse's school ... etc.. Matisse is the school that seems most alive, newest and most discussed.

Upon entering the hall dedicated to him, the appearance of landscapes, figure studies or simple patterns, all violently colored is about to examine the intentions, to know the theories: one feels right in the field of abstraction.

Without doubt, as in most fervent ravings of Van Gogh, something remains of the initial emotion of nature. But what we find especially in Matisse, that the artificial-not the artificial literary, as would a phrase search idealist or the artificial decoration, as imagined upholsterers Turkish Persian or no, it's something even more abstract: it is the paint off of any contingency, the painting itself, the pure act of painting. All the qualities of the table Other than the contrast of colors and lines, whatever the reason for the painter has not been determined, all that comes from our instinct and nature, all the qualifications of representation and sensitivity are excluded from the artwork. This is really looking for the absolute. And yet, strange contradiction, this absolute is limited by what is more concerning the world: the individual emotion.

What Matisse forgive me if I do not understand. I know the keenness of his eye, his gifts of sensitivity, and I think I am right if I try to cause each of its ratings, even briefly, a kind of emotion.

But what you do, Matisse, it's dialectic: you start with the individual and the many, and by definition as saying the neo-Platonic, ie, ie by abstraction and generalization, you arrive at ideas to noumena tables. You're satisfied until all elements of your work you are intelligible. Let nothing remains of conditioning or accidental in your world: you strip it of anything that does not coincide with the possibilities of expression that the reason you provided. As if you could, in the area of your art, escape to all requirements that limit our experience anywhere! We understand, "said Taine, millions of facts but by a hundred facts that we do not understand. He must resign ourselves: all is not intelligible. We should stop building a brand new art with our reason alone. We must rely more on the sensitivity, instinct, and accept, without too many scruples, a lot of experience of the past. The appeal to tradition is our best safeguard against the vertigo of reasoning against the excesses of the theories.

Maurice DENIS. "The Painting". The Hermitage , # 11, November 15 1905

Henri Matisse. Luxury I. Summer 1907. 210 X 137. Paris, Musée National d'Art Moderne

Henri Matisse. Music. 1910. 260 X 389. St. Petersburg Hermitage Museum


Henri Matisse. Dance. 1909-1910. 260 X 391. St. Petersburg Hermitage Museum


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On the "Fauvism"

In spring 1905, the bored painting in France. Her most recent additions have more than twenty years: Neo-Impressionism Seurat and Signac found its definition and logic in the late 1880s and since then disciples of all nations practice the division of tones, separated keys and optical mixing, that produced the eye when he stands away from the canvas. Nabis movement is not much younger: Bonnard and Vuillard are not the instigators of the color cut by flat areas they were around 1892, but recognized artists, almost classical.

As impressionism, he is at the age of prosperity. The time for fighting is over and exhibitions of Monet and Renoir are successful insured. The first shows the landscape of London, the second of naked in a sunny nature, the critics finally reconciled with them, agrees is very successful. French museums are beginning to think it would be necessary to acquire such works as the German amateurs, North American, Scandinavian and Russian come to buy in Paris.

In spring 1905, French painting bored so obviously the critical Mercure de France, Charles Morice, publishes the questionnaire he submitted to dozens of artists and their answers. Among his questions: "Impressionism Is he dead? " and" Are we at the beginning or end of a period? " Most answers are uncertain and diplomatic. Two painters only seem capable of putting the disorder in this comfortable torpor: Gauguin and Cezanne. But Gauguin died in 1903, the Marquesas, and Cezanne and misanthropic recluse in Aix-en-Provence. Their webs are visible only in the gallery of Ambroise Vollard, whimsical shop that cares little for the awareness, convinced that the large painting is worth.

In the spring of 1905, Henri Matisse is not bored, but he hesitates to do the painting. It's almost ten years since he hesitates. He is 35 years and an early reputation. Former student of Gustave Moreau at the Fine Arts, he methodically examines and summarizes the various aesthetic trends that have emerged since 1874 and the emergence of Impressionism. From late 1890 to early 1905, we see successively follow the examples, very compatible, Monet, Seurat and Signac, Cezanne and Gauguin. He sometimes seem close to Munch, the time of an experiment, and to return shortly after to espagnolades Manet.

Sometimes he follows the lesson of one, sometimes he tries stylistic syntheses. In order to have examples constantly before our eyes, Matisse, despite its poor financial situation, bought a small Cézanne and Gauguin small: for that, Amelia, his wife sells some jewelry. In the apartment on the Quai Saint-Michel, overlooking Notre Dame and the Seine, these small paintings are like talismans that should promote the metamorphosis of the student in innovative painter Matisse.

But it soon. In the summer of 1904, Matisse accepts the invitation of Signac. The latter, since the death of Seurat, is the leader and theoretician of the neo-Impressionism. He defends it in a book of doctrine, D'Eugene Delacroix to neo-impressionism , published in 1899. He also defended by pooling around him young converts it helps to expose. For Matisse, it does more: he proposes to spend a summer painting at his home in Saint-Tropez - - Signac, fond of sailing, was one of the discoverers of Saint-Tropez. Matisse accepts. The paintings are of course he then executes the footprint of the divisive theory, which he can discuss with Signac and Cross, another master of this school. This stay, Matisse relates the idea of a composition, female nude on a beach. He worked there in the winter and gives him a title in homage to Baudelaire, Luxury, calm and voluptuousness . He exhibited at the Salon des Independants, the twenty-first name, from March 24, 1905. Signac bought the canvas, how to approve and assist Matisse.

most attentive critics were less enthusiastic. "Why this foray among theorists" point "?" , Louis Vauxcelles request. Charles Morice, who are called "confetti and pointillist", is also skeptical: "Mr. Matisse was ill-advised to bring his talent to the group. Would he wanted to prove we could immediately and without further introduction, for we just liked it, become a master of this kind? " Suffice to say that

April 1905 Matisse is far from having solved the problems that hold it captive. His work is a reflection of the general situation of modern painting: perfectly tuned, thoughtful, erudite, attractive colors, banal of subjects. Morice is the most cruelly denouncing this state of affairs: "Art reduced to the technique ceases to be art to become a science - - a new science and useless" , he writes in the same account of the Salon des Independants. Presumably Matisse read these lines. And he felt it is set cause.Comment react? Away from Paris. Going to paint elsewhere, away from influences. It will not be St. Tropez and friendships neo-impressionists, but Collioure near the English border, port of fishermen without artistic past: we must break with the medium and liberate Parisian influences. May 16, 1905, alone, Matisse arrived at the station in Collioure and takes a room in the only hotel in town, the Hotel from the station precisely. He rented a second room as a workshop, on the beach of Port-d'Avall. It was agreed that his wife will join him later. And heard also, at least in the spirit of Matisse, a painting or other work will come with lui.Il proposed to his former comrades of Fine Arts, Marquet, Manguin in to Camoin. Upon his arrival, he sends them cards touting the picturesque location. None can accept: love affairs, finance or defects preference for working alone. Matisse then applied, apart from his closest friends, an artist younger than him, route and training very different, Andre Derain.

Derain was ten years younger than him. He began to paint self-taught, along with a comrade just as self-taught him, Vlaminck. Overall, the side of Chatou, they executed landscapes of the valley and suburbs. Together, they have discovered with astonishment Van Gogh. The correspondence address Derain Vlaminck, during his years of military service, shows him as a reader of philosophers and novelists, an ironic spirit and quick to call everything into question. In the spring of 1905, however, it is little more than a stranger whose shipments at the Salon des Independents go unnoticed, as far as those of Vlaminck. If Matisse is already a figure of the Parisian painting, Derain is only one of many young artists who try to enter.

But Matisse is known since 1899 or 1900. He visited him at Chatou he saw his first test. It So he wrote to Collioure. Derain meets in early June, the melancholy tone his usual: "You know I am alone in my ideas, what I am suffering a lot right now." From there is ready. He got his parents, if reluctant, however, it becomes artist, 1000 francs (equivalent to 3,340 euros today) for the train and stay. July 5 to arrive at the station a young man of Collioure very tall and thin, dressed in white and a red cap, with boxes, suitcases and a large umbrella.

On what then happened in July and August 1905, art historians have steadily look for years. Analyze the interactions between Matisse and Derain, influences cross, agreements and disagreements is not easy. In a letter to Vlaminck, Derain, the company is set at two points: "A new design of the light that is this: the denial of the shadow" ; and "root out all that the division of your had in the skin. "

The second principle is the easiest to explain: both artists are well aware that they have everything to lose by remaining faithful to neo-impressionism, with separate keys and components, the sample Signac, because this is not their aesthetics and because, Derain adds, "is in fact a world that destroys itself when pushed to abstraction." Hear: systematized these keys disappear in the nature of clouds and patches of colored dots that dissolve boundaries and absorb the perspectival space. The remark is all the more appropriate that abstraction was born, in fact, somewhat later, partly as divisionism pushed paroxysm this example from Paul Klee. So, Matisse and Derain abandon this process, probably in July - - abandonment which does not short the rest returns to this technique Derain later.

As to the "negation of the shadows", Derain's comment: "The shadow is a world of clarity and brightness that opposes the sunlight." other words, the shadows have colors clean and powerful, sometimes even more powerful than the colors that the brightness of the sun bleaches. The discovery is not one. Gauguin was set and shot in gorgeous color effects on his first visit to Tahiti in 1891 and 1892.

Matisse and Derain check in the Mediterranean climate, that Gauguin was included in the Pacific. And in turn reap the consequences : No color is required, only loyalty is to the work of visual sensation perceived by the eye of the painter. Sand can be red or overseas, a room with shutters half open purple or bright green. The colors are everywhere, all colors. Just to see them. Just - - what is even more difficult - - dare put them on the web despite the old habits, taboos, the supposed "realism" and all the reasons which should prevent paint half of face turquoise or vermilion.

To assert the freedom they have just won, the two painters pose for one another, and their portraits are freed from the conventions ordinary - - skin, flesh colored, shaped flexible. Derain's eyes are dark green, Matisse has more bluish green. Few days or weeks later, Amélie Matisse painted with the same audacity, the same erotic enjoyment of chromaticism any obligation descriptive. The key is essential acquis.Cet then has not been named yet. He receives one in October 1905 a name in mockery. The Salon d'Automne, room VII met Matisse, Derain, Vlaminck, Manguin, Marquet and Camoin. The critic Louis Vauxcelles launches the word "cage of wild beasts," which comes "Fauvism" - - which means since the painting was born in Collioure. But Vauxcelles is far from being the most violent. The rest of the press rages: "The most preposterous productions brushes delirium", "bariolage of shapeless", "barbaric games and a naive child who exercised with the paintbox which he donated to New Year's gift "," mixture of wax cylinders and parrot feathers. Any opinions

political spectrum denounced the daily madness and the "big joke" of these paintings whose colors offended by their intensity and frankness. The Illustration seized of the matter and publish photographs of the offending works, accompanied by derision, Quotes of the few people who try to understand and explain. The first scandal of the twentieth century art made the headlines in October 1905, and rumor is spreading in Europe, especially Germany where other oddballs - - Kirchner, Pechstein, Heckel - - are being created to Dresden movement called Die Brücke , the counterpart of Fauvism. This ensures

din of a sudden awareness of the "beasts". In November, Vollard buys Derain eighty-nine paintings and many drawings in one visit. Matisse new supporters, including the tribe Stein - - Gertrude, Leo, Michael - who become his friends. The year commenced in trouble and doubts ends in controversy and good meetings.

Matisse still maintains his composure and judge what he is finally able to accomplish: "The most important development, the greater crisis is when the artist understands that there is more objective painting, that the law is in him ."(...)

Philippe Dagen. "Painting wakes up." The World , August 27, 2005