Creativity of the great French artist Henri Matisse

impresses with his subtle knowledge of color, the nuances of transition of halftones, work with form, composition and ambiguous solutions, inspired by a gust of wind, flowering herbs, the interior of a room or a lovely female body, he found inspiration everywhere. For example, a picture "Blue Nude" (1907) almost silhouette, simple and without unnecessary details, just the essence female body without embellishment or exaggeration.

Matisse was born in a province in northern France, but dreaming of a career as an artist, he moved to Paris, the Center of all arts. However, at first Henri paints pictures in a dark palette, relying on his already established experience European art, being in search of my palette and my own style.

"Still Life" 1890

"Woman Reading" 1894

Or in the impressionist style...

"Dinner table" 1897

pointillism

"Luxury, peace and pleasure" 1904 Center Georges Pompidou, Paris

It is interesting that he found an understanding of color and light only in the south of France. The stimulus was the bright colors of the sunny resort, when his own feelings could no longer remain silent and poured out onto the canvases with intense sound in the contrast of complementary colors.

« Open window", 1905

He finally found himself in a new direction - Fauvism, proclaiming the brightness of colors and simplification of forms, which no one had ever done before. It’s worth at least looking at the portrait of his wife Amelie, who inspired him to create a riot of colors and color combinations.

“Woman in a Hat” (Portrait of a Wife), 1904

Matisse managed to harmoniously express the emotional feeling of reality.

"The Happiness of Existence (Joy of Life)", 1905-06. Barnes Foundation, Lincoln University, Merion, Pennsylvania

Matisse's world- this is a world of dances and pastorals, music and musical instruments, beautiful vases, juicy fruits and greenhouse plants, various vessels, carpets and colorful fabrics, bronze figurines and endless views from the window (the artist’s favorite motif). The style is distinguished by the flexibility of its lines, sometimes intermittent, sometimes round, conveying various silhouettes and outlines, clearly rhythmizing it, and strictly thought out. Laconism artistic means, coloristic harmonies, combining either bright contrasting consonances or the balance of local large spots, serve the artist’s main goal - to convey pleasure from the sensual beauty of external forms.

"Harmony in Red Colors" 1908. Hermitage

One of the first to appreciate Matisse's talent was the Russian businessman and collector Sergei Ivanovich Shchukin. In 1908, he ordered the artist three decorative panels for his house in Moscow, which were made in three primary colors, writing out the color code for dance and music: Dance (1910), inspired by impressions of S. Diaghilev’s Russian seasons, Isadora Duncan’s performances and Greek vase painting.

Music (1910) singing and playing various instruments

And "Bathing" (Meditation), remains only in sketches. These paintings are dominated by bright colors, and compositions filled with people moving in dance or playing musical instruments naked people symbolize the natural elements - air, fire and earth.
After visiting St. Petersburg he said: “I saw a collection of old icons yesterday. Here great art. I am in love with their touching simplicity, which is closer and dearer to me than the paintings of Fra Angelico. I'm happy that I finally got to Russia. I expect a lot from Russian art, because I feel that countless riches are stored in the soul of the Russian people; The Russian people are still young. He has not yet had time to waste the heat of his soul.”

IN modern world its vibrant color combinations, its contrasting shapes and textures inspire many artists, and is also used in advertising (eg logos, emblems), especially in textiles, etc.

"Figure on a background of ornament" 1925-26. Center Pompidou, Paris

"Moorish Room" 1923

"Odalisque in red trousers" 1917

"Moorish woman with raised hands" 1923

In a famous work "Piano" Matisse expressed his attitude towards war through grey, melancholy shades and twisted geometric shapes. If you look closely, you can see a doll in the corner, perhaps it is like the personification of war victims, unfortunate soldiers and civilians who died on the battlefields.

It is interesting that Matisse created about ninety works by his muse, lover, and assistant Lydia Delectorskaya, who lived with him for 22 years before his death.

"Odalisque with Magnolia" 1924

Matisse was undoubtedly inspired famous painting Jean Ingres's "Great Odalisque", where Ingres idealized some of the features of his model in order to achieve ideality and, at the same time, emphasize the expressiveness of the form.

Jean Auguste Dominique Ingres "Great Odalisque", 1814. Louvre, Paris

Amadeo Modigliani, who highly valued him, also drew inspiration from Ingres’s work, painting “Reclining Nude.”

"Reclining Nude" Amedeo Modigliani, 1917

In addition, the representative of abstract expressionism, Mark Rothko, was also impressed by Matisse and many works were created under his direct influence.

For example, look at a Matisse painting "Door"

In the theme of his favorite plot “Open Window”, such as here

Inspired by canvas Matisse "The Red Workshop" (1911),

Rothko paints his interpretation of this studio.

At the end of the 40s. the colors of the interiors painted by Matisse again became extremely saturated.

“Red interior, still life on a blue table” (1947)

"Egyptian Curtain" (1948)

He loved to travel, enjoying the traditions and customs of other countries, their architecture, people and exotic nature, he especially fell in love with Nice, with its bright colors and the relaxing atmosphere of the south, where he lived recent years life with Lydia. Undoubtedly, his trip to Morocco also played a role, leaving an imprint with the appearance of bright, luminous landscapes and figurative compositions, the colors of which contrasted sharply with each other. He also admired the skyscrapers of New York. But it was France that Matisse owed to the creation of women dressed in exotic outfits against a decorative background. The artist was friends with Pablo Picasso, with whom he had several joint exhibitions; he even created several compositions in the spirit of cubism.

Even bedridden due to illness, he continued to work, developing a technique for composing an image from scraps of paper, which gave him the opportunity to achieve the long-awaited synthesis of design and color.

Matisse: “Nowadays I have turned to more matte and accessible materials, which forces me to look for new means of expression. Paper cutouts allow me to paint with color. For me it's about simplification. Instead of drawing an outline and filling it with paint - with each changing the other - I paint directly in color, which is all the more calculated because it does not have to be moved. This simplification guarantees the precision of the connection of both processes, which now form a single whole. This is not a beginning, but an ending."

His very famous work in this technique “Icarus”, as one of the illustrations for the book “Jazz”.

"Icarus", 1947

Other illustrations are no less interesting in their rhythmic simplicity and expressiveness.

Matisse: “Sometimes difficulties arose: lines, volumes, colors... and when I combined them, everything collapsed, because one destroyed the other. I had to start again, look for music and dance, find balance and avoid conventions. New takeoff, new attempts, discoveries... It is not enough to place colors next to each other, no matter how beautiful they are: you also need these colors to interact with each other. Otherwise it's a cacophony..."

Matisse: " Cutting right into the color reminds me of a sculptor carving directly from stone.”

Now a similar image can be seen in its modern interpretation, for example in Apple

Or in olympic games

And also in clothes

Based on Matisse D ik Brun, Dutch artist and illustrator, creates famous character Miffy.

Overcoming pain, he created in order to have time...

One of latest works Matisse huge collage "Snail" (1953).

Matisse: "Confidence line goes from the deep conviction of the artist. The carving you see up there high on the wall, looking like an acanthus and a volute, is a stylized snail. At first I drew a snail from life, holding it between two fingers, drawing it and redrawing it again. I became aware of its unfolding and created the already purified shell sign in my mind. Then I took the scissors. It was necessary to establish a relationship between the observed object and its observer. I placed this snail in a large garden arrangement. But then the general musical movement, and I removed the snail. I put it aside, waiting for the right opportunity. I repeat once again that one must be sincere and that a work of art truly exists only when it is filled with emotions and executed with all sincerity, and not according to an agreed upon program. Thus, we can, without embarrassment, look at the works of pagan artists who preceded the Christian primitives. But when we find ourselves before certain works of the Renaissance, in which the materials are sumptuous, rich, provocative, then we are embarrassed to see Christian sentiments conveyed with such pomp and sophistication. Yes, I say this sincerely - these paintings are made for the rich. The artist stoops to the level of his patron. In pagan art, the artist is a person of flesh and blood, natural and honest with himself, his feeling is sincere. There is no duality. And in the duality of Renaissance art, too often one can see the artist’s desire to please the patron.”

In the work of the English fashion designer Paul Smith you can find parallels with the “Snail”: in clothes, accessories, prints of various colors, design of perfumes, cars. Let's see?!

Yves Saint Laurent created collections based on the artist.

His latest inspiration was working at Roser Chapel or Rosary Chapel, Matisse Chapel, was built in 1949-1951.

For it, the artist created wall paintings, colored stained glass windows, a stone altar and a bronze cross mounted on the roof, and also made sketches of liturgical vestments of various colors. The walls of the chapel are covered with white slabs, on which images without a face are applied in a thin black outline, “as if containing infinity.” The ascetic, abrupt line gives the impression of extreme openness, almost nakedness. It takes tension of spiritual thought to comprehend perfection.

The black and white walls of the Chapel take on color when daylight falls on them, passing through stained glass, “transforming physical light into spiritual light.”

Stunning lighting is created by three colors - the purest blue, dazzling yellow and bright green, the simple and strict design of which gives a feeling of spiritual fullness.

Everything is amazingly organic.

Matisse: “I enjoyed the light of the sun for a long time and only then made an attempt to express myself through the light of the spirit.”

Matisse Escolier Raymond

"JOY OF LIFE"

"JOY OF LIFE"

How can we force people to admit that Matisse’s soul was tied to order, discipline, and tradition?

This is the time of the creation of “The Joy of Life” (Barnes collection), a large decorative and lyrical composition that caused a scandal at the Salon of Independents in 1906.

“Joy of Life” - the anthem of Fauvism, victory song, which also became a swan song, because from now on Matisse foresees new sources of inspiration, rarer and deeper.

And yet in this large canvas, so Mediterranean in spirit and composition, everything foreshadowed the Dionysian ecstasy of “Dance” and “Music”. Elongated sensual forms, groups of lovers, a frantic round dance that will henceforth animate Matisse’s canvases, wild seaside, blue forest, azure sea are subordinated to a powerful victorious rhythm. The picture owes this, of course, to the arabesque, but also to the extravaganza of open colors, deep tones, pure painting, as well as to what returns us to primitive emotions and instincts. “Instinct has been found again,” Apollinaire exclaimed then.

“The most significant,” notes Maurice Denis a few months later, “are undoubtedly the “matisses” exhibited this year at the Autumn Salon between the black Courbet and the truly Venetian room of Gauguin.

The “Matisses” - of course, Matisse himself and some of his followers, such as Friez, are endowed with extraordinary sensitivity - compete in brightness and strive to recreate light.

What do they manage to recreate from sunlight- this is a feeling of pain in the eyes, flickering, a painful feeling of blindness, dizziness. which usually occurs when you look at a white wall or esplanade on a bright summer afternoon.

Their aesthetic allows them to make attempts to dazzle you. They do not shy away from the harshest lighting and use the brightest colors to convey it. Multi-colored strokes on a white canvas background, some spot, some stroke, a little pure color - and this is enough to convey the full power of sunlight. How far are we from Northern Beaches“ and “Banks of the Seine” by Seurat! How well-behaved Monet’s “Haystacks” were! However, it should be especially noted to what extent the methods of representation are different (I do not mean the painting technique - this is too obvious, but the optical effect). All that remained from the theory of the Impressionists was extreme simplicity in the means of depiction. Chevreuil’s old diatonic scale gave way to chromaticism with all its nuances, sharp transitions of tones, dissonances, and the opposition of pure colors to neutral gray colors.”

It should not surprise us that someone outside the "artist corps" (I mean Gertrude Stein) seems to have shown far more insight that day than Maurice Denis, the artist who was one of our best art critics. In any case, there is no more correct interpretation of this famous painting: “Matisse was at that time working on his first large decorative panel, The Joy of Life.

He made sketches for this, first small, then large and, finally, gigantic in size. It was in this work that Matisse first consciously embodied the idea of ​​​​deforming the drawing of the human body in order to achieve harmony and greater significance of the primary colors, which he mixed only with white. He constantly used this broken pattern, just as in cooking one uses vinegar or lemon, or resorts to eggshells to lighten coffee. Cézanne arrived at his broken lines and incompleteness out of necessity. Matisse did this on purpose."