Twenty-Four Henri Matisses Paintings (Collection) for Kids

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Matisse was markedly taller and more polished than the stocky, cocky Catalan, was then ruler of the turbulent Paris avant-garde art scene. The two were said to have always been looking over their shoulders at each other. It is well-known that after their rivalry grew, sides were taken. Picasso later said: "No one has ever looked at Matisse's paintings more carefully than I; and no one has looked at mine more carefully than he. One key difference between their pictorial concepts was that Matisse drew and painted from nature, while Picasso was much more inclined to work from imagination.

The subjects painted most frequently by both artists were women and still lives, with Matisse more likely to place his figures in fully realized interiors. Gertrude Stein, who loved stirring things up, wrote, "the feeling between the Picassoites and the Matisse-ites became bitter. While the rift between the two artists eventually healed, the one between their supporters remained.

In , with the Matisse family lived in a former convent on the Boulevard des Invalides, in Paris, where the artist conducted a painting school. It operated from until Hans Purrmann and Sarah Stein were several of his most loyal students. Given the reputation Matisse had acquired as the"wild man" of modernist color, it must have come as a shock to some of his early students that the program of instruction he offered was remarkably conservative.

Every now and then he got completely rid of the life model and we only drew from the plaster casts, and his critiques then were no less profitable. Meerson moved to Munich, where she married the musician Heinz Pringsheim, a brother-in-law of Thomas Mann. Never having fulfilled her promise as a painter, she committed suicide in Berlin, in One of Matisse's biographers, with access to much of the artist's correspondence, contends that the artist, after his marriage, rarely, if ever, had sex with models, despite his apparent feelings for many.

Two Russian art collectors stood out at the beginning of the 20th century: the cloth merchant Sergei Shchukin — and the textile manufacturer Ivan Morozov — Both acquired modern French art, developed a sensibility for spotting new trends, and publicized them in Russia. In this period, Matisse had initiated his fecund association with the Russian textile magnate and visionary collector, Sergei Shchukin. Inspired by a circular dance-- perhaps a sardana - performed by fishermen at Collioure, this painting embodies the clash between the sacred and reality. Human hands link together, but they form a divine spirit.

The other painting commissioned was Music , He died in Paris, in The collection is now in the Hermitage and Pushkin Museums.

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From about to , Matisse struggled with the ideas of Cubism, an experiment he felt he was "not participating in" because it did not "speak to [his] deeply sensory nature. Like many avant-garde artists in Paris, Matisse was receptive to a broad range of influences. His art was profoundly influenced by Easter art as well. Matisse first flirted with the idea of visiting Morocco after a trip to the Moorish part of Spain in the winter of This taste of the Moors incited a flame of hope that there would be greater inspiration to paint in Morocco.

Furthermore, well aware of the exotic subjects in Morocco that had engendered a wealth of inspiration for the famous French painter Delacroix when he visited the country over eighty years before, Matisse felt Morocco would stimulate his painting genius in ways Europe could not. He strove for neither the picturesque nor the pornographic.

In Morocco, Matisse seems to have had difficulties finding models who would pose for him, particularly women because of the law of the veil. Only Jewesses and prostitutes were exempt. Instead, in his first picture of her, Zorah en Jaune, sexual themes are most conspicuously absent from the canvas. As a prostitute used to exposing and flaunting her body, Zorah could have easily been painted nude or with less clothing to show herself off, but instead Matisse chooses to keep her clothed and posed with prudence.

Unlike the primitive, nude Western women in the Fauve Joy of Life. Moroccan Zorah is clothed with respect and detail to her finer characteristics.

Henri Matisse's Top 20

He is developing his ability to paint with awareness of the non-sexual qualities of his subject, a movement away from Fauve women. Many of Matisse's Moroccan paintings are covered only in the thinnest washes of pigment, as if he wanted the texture of the unpainted canvas to show through so that it would add rawness to the browns and grays. Matisse's odalisques have been described as "elaborate fictions" in which the artist re-created the image of the Islamic harem using French models posed in his Nice apartment.

The fabrics, screens, carpets, furnishings and costuming recalled the exoticism of the "Orient" and provided a theme for Matisse's preoccupation with the figure and elaborate patterns of exotic fabrics. Although Matisse's interest in textiles are evident in his compositions made during his trip to Morocco, it didn't begin as a typical European attraction to the exotic. It was already present to him as a descendent of generations of weavers, who was raised among weavers in Bohain-en-Vermandois, which in the 's and 90's was a center of production of fancy silks for the Parisian fashion houses.

Like virtually all his northern compatriots, he had an inborn appreciation of their texture and design. He understood the properties of weight and hang, he knew how to use pins and paper patterns, and he was supremely confident with scissors. Matisse was known to be an avid collector of fabrics, from his days as a poor art student in Paris to the latter years of his life, when his Nice studio overflowed with Persian carpets, delicate Arab embroideries, richly hued African wall hangings, and any number of colorful cushions, curtains, costumes, patterned screens, and backcloths.

Textiles soon became the springboard for his radical experiments with perspective and an art based on decorative patterning and pure harmonies of color and line. When he moved house, he also moved his fabrics, describing them as "my working library. The revitalizing spirit of Morocco would live on in the artist's imagination until the cutouts of the artist's last years. His motifs were always recognizable, and the tension between the subject and the formal aspects of the painting was a central concept of his artistic ideal.

The years —30 are known as his early Nice period, when his principal subject remained the female figure or an odalisque dressed in oriental costume or in various stages of undress, depicted as standing, seated, or reclining in a luxurious, exotic interior of Matisse's own creation. These paintings are infused with southern light, bright colors, and a profusion of decorative patterns.

They emanate the atmosphere suggestive of a harem. In , Matisse temporarily suspended easel painting and traveled to America to sit on the jury of the 29th Carnegie International and, in , spent some time in Tahiti and New York as well as Baltimore, Maryland and Merion, Pennsylvania.

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He was especially thrilled with New York. An important collector of modern art, and owner of the largest Matisse holdings in America, Dr. Albert Barnes of Merion , commissioned the artist to paint a large mural for the two-story picture gallery of his mansion.

The foundational Matisse monograph was written during his lifetime by another American, Alfred Barr. Also important in promoting Matisse's presence before the transatlantic public was the Manhattan gallery founded in by the artist's son, Pierre, who remained a prominent figure in the New York art world for almost six decades. In addition to his father, he represented Balthus, Calder, Dubuffet, Giacometti, Miro, Tanguy and others, many of them also friends. Throughout his long and productive career, Matisse periodically refreshed his creative energies by turning from painting to drawing, sculpture and other forms of artistic expression.

These books were deluxe, limited editions, meant to be collected and admired as works of art, as well as, read. The result was a collection of 29 beautiful etchings, of which the Museum will display In , again for Skira, Matisse began one of his most complicated and successful printmaking projects, Florilege des Amours de Ronsard , illustrating the love poems of 16th century French Renaissance poet Pierre de Ronsard. The artist selected the poems himself and translated the work from Renaissance French to contemporary French for the publication of the anthology.

For all his long-lasting friendships with other artists, famous and obscure, Matisse's days and nights were absorbed by solitary labor. Playing the violin seemed a more intimate consolation for decades of critical abuse than the affections of his wife and children. By day he quarrels with his wife!

The portrait was his last painting of her. Matisse and his wife met the last time to discuss details of their legal separation, in July One of its key provisions was that everything would be divided equally between the couple. The meeting took place in Paris at the Gare St. I remained as if carved out of wood, swearing never to be caught that way again. After her dismissal, Delectorskaya shot herself in the chest with a pistol, remarkably with only a slight effect.

Soon after the artist and his wife were legally separated Delectorskaya was back. Her will throughout was indomitable; she typed, kept records and meticulous accounts and paid the household bills. And when called upon, even scoured the countryside on her bike for provisions during the war. Matisse claimed that his entire household came to a standstill in her absence which, in the light of what Lydia accomplished is anything, if not an understatement.

That was how it was for me, and that was how it had been for Mme. However, in this period Matisse was increasingly absent. In , his travels took him to the United States, where he was thrilled by New York, and to Tahiti.

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Matisse found that Tahiti was "both superb and boring. There the weather is beautiful at sunrise and it does not change until night. Such immutable happiness is tiring. In September of he employed a temporary stand-in for his regular night nurse. The agency sent him a young, twenty-one year old student nurse: Monique Bourgeois.

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After a year in nursing school she made her way to Nice to find work at the nursing school placement office. She was in luck. An artist by the name of Henri Matisse was looking for a temporary night nurse.

Lydia answered. Monique propped up Matisse's pillows, read to him and took walks with him, and her impish wit and straightforward conversation enchanted him.

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She quickly became comfortable with Matisse and soon their conversations turned more personal. Matisse spoke of himself, his family and his grandchildren whom he adored.