Matisse
Natalia Brodskaya
Publisher: Parkstone International
Summary
“Fauvism is when there is a red,” said Henri Matisse concisely putting into words the most straightforward notion held of Fauvism. Matisse has in fact become Fauvism’s leader over the years as a result of his contemporaries and researchers persistently perpetuating such an idea. Consequently Matisse’s œuvre has been scoured through in a search for the ultimate Fauvist painting. Matisse never pretended or aspired to such a role, and on the question of what Fauvism represents in theory and in practice, he never came to a final conclusion. Matisse started to take lessons at the Académie Julian in 1891, working as a law tutor to help pay his way. In 1892 he abandoned Bouguereau’s totally uninspiring lessons and transferred to Gustave Moreau’s classes at the Ecole des Beaux-Arts. During the evenings Matisse also attended classes in applied art and there he made friends with Albert Marquet, who soon also became a pupil of Moreau. It was at these classes that a group of artists came together and formed friendships that would endure all the trials and tribulations of their respective lives. This group consisted of the “Three M’s” – Matisse, Marquet and Manguin – as well as Georges Rouault, Charles Camoin and Louis Valtat. Working in Léon Bonnat’s studio, which was just across the corridor, was another future member, Othon Friesz. And he would later be joined by Raoul Dufy. In 1901 Matisse and his friends started to exhibit their work at the Salon des Indépendants and in Berthe Weill’s gallery. In 1903 they were involved in the founding of the Salon d’Automne, where two years later Vauxcelles would see their work and dub them “les fauves”. The Salon d’Automne scandal over Woman with a Hat in 1905 brought Matisse fame and glory at a time when the preceding generation of artists were only just beginning to receive theirs. Matisse, as a natural inheritor of the French tradition, showed himself more than respectful of his elders. Renoir, whom he often met whilst in the south in 1917-18, always remained a teacher figure for him. The paintings Matisse produced between 1897 and 1901 demonstrate the mastery of his predecessors’ techniques, from the Impressionists through to Cézanne. Matisse began this process around the time of Gustave Moreau’s death. Unlike Derain and Vlaminck he was never troubled by the “museum issue” since he learnt to appreciate exhibits and their influence under Moreau’s guidance. Fauvism shaped all Matisse’s creative work and he himself defined it so well as: “The courage to find the purity of means”.
Available since: 12/22/2011.
