Window open shutter, vines, flowers on sill, boats outside on harbour
Sunlight colours- bright pinks, oranges, greens, blues- broken down to just brushstrokes
Lack of drawing, spatial recession only through scaling, flattened forms
Gaps in painting work to show brushstrokes and artificality, unblended colours
Non-naturalistic: 'when I put a green it is not grass, when I put a blue it is not the sky'
Context
Mattise spent summer 1903 at fishing port of Collioure
Window view into imagination, freedom and esapism, Reniassance idea of window as illusion
Perspective destoryed- Modernist statement of artistic autonomy from depiction
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Matisse 'Joie de Vivre' (1906-7)
Description
Nude people in foresr landscape, nudes lounging (Venus), some in back do fisherman's dance
Dynamic use of colour, not realities, mythical paradise- makes lack of realism acceptable
Rejection of scaling, juxapositon of objects conceived independantly and arranged together
Influence of Art Nouveau in sinuous lines and cloissionism
Context
Impressionist theme of lesuire as pagan ideal, classical arcadia - Bellini's 'Feast of the Gods'
Based on earlier 'Luxe, Calme et Volupte' from Baudelaire poem 'in everything there is order and beauty/ luxuriance, calm et voluptousness'
African art- travelled to Africa 1906, stylised exaggeration of the nude, vivid colours
Gide promoting spontaenous approach to life, links to naturism
Discussion of decorative, Greensberg defended for drawing attention to modernist aspects
Lesiure- middle class, less rebellious
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Derain 'Palace of Westminster' (1906-7)
Description
Large scale, impasto, unrestrainted colour, rapid, seperated brushworks
3 barges on Thames, sky patches of light/dark, being pulled by tugboats
Boats just brushstrokes, contrasts yellow, blue, peach of river, calmer pinks and greens beyond, Westimister purple haze with turrets silhouetted against green, blue, white sky
Lack of narrative- just about aesthetics
Context
London 1906, encouraged by dealer Vollard, to follow succes of Monet
'Adored Monet' but shows competitiveness in same sites, removes misty light, romantic colour and intricate brushwork
Rosenthal: 'not since Monet has... London so fresh yet...so quintessentially English'
Huge population growth to 6 million 1900, increased mechanical growth etc.
'I hate the English spirit, sad, hypocritical and mocking. Everything here is dead' but later said London 'demonstrated a dazzling spectacle to the viewer'
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