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Black Leaf On Green Background
Black Leaf on Green Background (1952) is a collage by Henri Matisse. The medium is gouache and cut paper on paper. It is in the Menil Collection, Houston, Texas. During the early-to-mid-1940s Matisse was in poor health, and by 1950 he stopped painting in favor of his paper cutouts. Black Leaf on Green Background is an example of Matisse's final body of works known as the cutouts.[1] External links[edit]Menil Collection, retrieved December 30, 2007References[edit]^ "Henri Matisse" Archived August 4, 2008, at the Wayback Machine., Pompidou Centre
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Henri Matisse
Henri Émile Benoît Matisse (French: [ɑ̃ʁi emil bənwɑ matis]; 31 December 1869 – 3 November 1954) was a French artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter.[1] Matisse is commonly regarded, along with Pablo Picasso, as one of the artists who best helped to define the revolutionary developments in the visual arts throughout the opening decades of the twentieth century, responsible for significant developments in painting and sculpture.[2][3][4][5] Along with Picasso, Matisse helped to define and influence radical contemporary art in the 20th century
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The Music Lesson (Matisse)
The Music Lesson (French: La lecon de musique) is a 1917 oil painting by Henri Matisse
Henri Matisse
painted during his time in Laurette.[2] It is currently on display at the Barnes Foundation in Philadelphia, Pennsylvania. The painting is 96 3/8 x 79 in. (244.7 x 200.7 cm). References[edit]^ Getlein, Mark. "Chapter 2 / Art
Art
and Meaning / Photo 2.25." Living with Art. 8th ed. Boston, MA: McGraw Hill, 2008. Print. ^ Flam, Jack D. (2006). Matisse in transition: around Laurette
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Still Life With Geraniums
Still Life with Geraniums is a 1910 oil on canvas painting by Henri Matisse. The oil painting is in the collection of Pinakothek der Moderne, Munich, Germany, to whom it was given in 1912, thus becoming, according to the museum, the first Matisse to enter a public collection.[1] Still Life with Geraniums was one of six paintings in the museum's collection to survive World War II.[1] This particular painting should not be confused with Matisse's earlier 1906 painting Still Life with a Geranium, which is held by the Art Institute of Chicago,[2] or his 1912 painting Pot of Geraniums in the National Gallery of Art.[3] (Juan Gris also painted Pot of Geraniums in 1915, sold at auction in 2007.)[4] Notes and references[edit]^ a b Butler, Desmond. "Art/Architecture; A Home for the Modern In a Time-Bound City", The New York Times, 10 November 2002
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L'Atelier Rouge
L'Atelier Rouge, also known as The Red Studio, is a painting by Henri Matisse from 1911, in the collection of The Museum of Modern Art, New York City.[1][2] In 2004, L'Atelier Rouge came in at No. 5 in a poll of 500 art experts voting for the most influential of all works of modern art, along with works by Pablo Picasso, Marcel Duchamp and Andy Warhol.[3]Contents1 Formal Analysis 2 Influences 3 Legacy 4 ReferencesFormal Analysis[edit] This work depicts Matisse's atelier (studio) that he had built for himself in 1909, entirely awash in one tone of vibrant, rusty red. At 64 inches by 51 inches, the interior still life successfully accomplishes a monumentality while also seeming inviting. Unassertive yellow lines create the outlines of Matisse’s furniture, creating objects out of the expansive red space. A grandfather clock sits approximately in the center of the composition, serving as a vertical axis that brings balance and harmony to the spatial discontinuities of the studio
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The Conversation (painting)
The Conversation, a painting by Henri Matisse dating from 1908–1912, depicts the artist and his wife facing each other before a background of intense blue. It is in the collection of the Hermitage Museum in Saint Petersburg, Russia. This was among several works acquired directly from Matisse in Paris by the Russian collector Sergei Shchukin. After the Russian Revolution, the Shchukin collection was confiscated and, by 1948, was donated to the public along with the Ivan Morozov collection, at the Pushkin Museum of Fine Arts in Moscow and the Hermitage Museum in St Petersburg. Matisse painted The Conversation at a time when he had abandoned the open, spontaneous brushwork of his Fauve period in favor of a flatter and more decorative style. The painting is large (69 5/8 in. x 85 3/8 in., or 177 cm x 217 cm), and shows Matisse in profile, standing at the left in striped pajamas, while his wife, Amélie, sits to the right
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Zorah On The Terrace
Zorah on the Terrace
Zorah on the Terrace
(1912), oil on canvas, is a painting by Henri Matisse in the collection of The Pushkin Museum of Fine Arts, Moscow, Russia.v t eHenri MatisseWorks Woman Reading
Woman Reading
(1894)
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Window At Tangier
Window at Tangier by Henri Matisse (1912 - The Pushkin Museum of Fine Arts, Moscow); also referred to as La Fenêtre à Tanger, Paysage vu d'une fenêtre, and Landscape viewed from a window, Tangiers. An example of Matisse's paintings after the colorful revolution of his Fauvism period. After several trips outside France Matisse became interested in the Islamic art of North Africa. He visited Morocco in 1912 and 1913. Window in Tangier, with its bold color and flat perspective reflects a Moroccan influence in Matisse's work. This was among several works acquired directly from Matisse in Paris by the Russian collector Ivan Morozov
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Le Rifain Assis
Le Rifain assis
Le Rifain assis
(Seated Riffian), December 1912, oil on canvas, is a painting by Henri Matisse
Henri Matisse
in the collection of the Barnes Foundation, in Philadelphia, Pennsylvania.[1] References[edit]^ Henri Matisse,
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View Of Notre-Dame
View of Notre-Dame
View of Notre-Dame
(French: Une vue de Notre-Dame) is an oil painting by Henri Matisse
Henri Matisse
from 1914.Contents1 Experimental period 2 Exhibition 3 References 4 External linksExperimental period[edit] Along with works such as Woman on a High Stool, it belongs to the "experimental period" of Matisse's oeuvre. Pentimenti
Pentimenti
reveal that it was originally painted in a more detailed manner before it was radically simplified into a geometric composition.[1] Exhibition[edit] It was not exhibited until after Matisse's death, but proved a great influence upon later developments in painting.[1] References[edit]Elderfield, John (1996). Henri Matisse: Masterworks from the Museum of Modern Art. New York City: MOMA
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Woman On A High Stool
Woman on a High Stool
Woman on a High Stool
(French: Femme au tabouret, La femme assise) is an oil painting on canvas by the French artist Henri Matisse
Henri Matisse
from early 1914. It is a portrait of Germaine Raynal, the wife of the poet and art critic Maurice Raynal. With its simplified geometric structure, dark contouring, and subdued palette, the work relates closely to Paul Cézanne
Paul Cézanne
and Cubism.[1] References[edit]^ Henri Matisse, Woman on a High Stool
Woman on a High Stool
(Germaine Raynal), Online Collection, MoMAElderfield, John (1996). Henri Matisse: Masterworks from the Museum of Modern Art. New York City: MoMA
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Le Rideau Jaune
Le rideau jaune
Le rideau jaune
(The Yellow Curtain) is a painting by Henri Matisse created in 1915. Its size is 57½ × 38⅛" (146 × 97 cm). It is currently in the collection of the Museum of Modern Art, New York. Matisse's original title for the painting, Composition, draws attention to its abstract quality. Interviewed in 1931, Matisse explained that the painting represents a view from a curtained window in his home at Issy-les-Moulineaux, including the blue glass canopy that covered the front door. It was donated to them as a gift of Jo Carole and Ronald S. Lauder, Nelson Rockefeller
Nelson Rockefeller
Bequest, gift of Mr. and Mrs. William H
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The Painter And His Model
The Painter and His Model
The Painter and His Model
(French titles: Le Peintre dans son atelier, Le peintre et son modèle, l'Atelier, quai Saint-Michel) is a work by Henri Matisse
Henri Matisse
painted late 1916, early 1917. It is currently in the collection of the Musée National d'Art Moderne, Centre Georges Pompidou, Paris.[1][2] In this work Matisse depicted himself in his studio on the fourth floor of 19 Quai Saint-Michel, at work on his painting Laurette in a Green Robe (1916). This painting belongs to the series of Matisse's studio with views of l' Île de la Cité
Île de la Cité
and the Pont Saint-Michel. According to Matisse (when the painting was acquired by the Musée National d'Art Moderne in 1945), this work was painted in 1917
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Piano Lesson (painting)
The Piano Lesson depicts the living room of Henri Matisse's home in Issy-les-Moulineaux, with his elder son, Pierre, at the piano, the artist's sculpture Decorative Figure (1908), at bottom left, and, at upper right, his painting Woman on a High Stool. Matisse began with a naturalistic drawing, but he eliminated detail as he worked, scraping down areas and rebuilding them broad fields of color. The painting evokes a specific moment in time—light suddenly turned on in a darkening interior—by the triangle of shadow on the boy's face and the rhyming green triangle of light falling on the garden
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Dance (Matisse)
Dance (La Danse) refers to either of two related paintings made by Henri Matisse between 1909 and 1910. The first, preliminary version is Matisse's study for the second version. The composition or arrangement of dancing figures is reminiscent of Blake's watercolour "Oberon, Titania and Puck with fairies dancing" from 1786.[1]Contents1 Dance (I) 2 Dance 3 Notes and references 4 External linksDance (I)[edit] In March 1909, Matisse painted a preliminary version of this work, known as Dance (I).[2] It was a compositional study and uses paler colors and less detail.[3] The painting was highly regarded by the artist who once called it "the overpowering climax of luminosity"; it is also featured in the background of Matisse's La Danse with Nasturtiums (1912). It was donated by Nelson A. Rockefeller in honor of Alfred H. Barr, Jr
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Odalisque With Raised Arms
Odalisque With Raised Arms is a painting by Henri Matisse
Henri Matisse
that was competed in 1923. The medium is oil on canvas, and the painting is 23 inches by 26 inches. It currently hangs in Washington D.C. in the National Gallery of Art. Matisse’s style changed and evolved drastically throughout his career due to World War I and World War II occurring in his lifetime, therefore he has a wide and wavering collection of paintings depicting the nude female. His Odalisque paintings were inspired by his trip to Morocco. Many of the female subjects in the Odalisque paintings were modeled after Matisse's main model at the time: Henriette Darricarrière.Contents1 The Composition 2 Matisse's Sources 3 Matisse's Model 4 Morocco and the Odalisque 5 Fauvism 6 Notes 7 ReferencesThe Composition[edit] The subject of the painting is a woman sitting in a green and yellow striped armchair. Her figure and the chair take up the majority of the canvas
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