La verdad del poliedro

Matisse pasó la mayor parte de su vida intentando buscar la verdad. Para él la verdad estaba escondida tras la simplificación de las líneas y la combinación de colores. Por este motivo se dedicaba a estudiar sus propias obras y repetirlas con el objetivo de mejorar su técnica en cada nuevo cuadro que completaba. No son pocos los que han realizado series y copias de sus cuadros, pero es significativo que Matisse buscara no sólo comparar la luz o sus efectos sobre un determinado objeto, sino superarse individualmente con cada obra, alcanzar el cuadro verdadero, la perfección total.

François Lemoyne, El Tiempo salvando a la Verdad de la Falsedad y la Envidia,
1737. Óleo sobre lienzo, 180.5 x 148 cm. Wallace Collection, Londres.

Die jungen „Wilden“ erobern das Stillleben

Bei dem Gedanken an die Gattung „Stillleben“ kommen mir Früchte, totes Wildbret auf einem Silbertablett, verstaubte alten Vasen auf dem Dachboden oder farblich in Altrosé getauchte Blumensträuße in den Sinn. Alles künstlerisch wertvoll auf einem Tisch angeordnet und vom Künstler in einer technischen Meisterleistung klassisch und der Natur getreu auf die Leinwand gebracht. Hier und da gibt es interessante Details zu entdecken, und über die Symbolischen Bedeutung wird es sogar spannend. Doch die inhaltliche Wiederholung der abgebildeten Objekte wirkt mitunter emüdent auf den Betrachter und irgendwann ist das nächste Stillleben „nur“ noch schön anzuschauen.

 

Jan Davidz de Heem, Stillleben mit Dessert, 1604.
Öl auf Leinwand, 149 x 203 cm.
Musée du Louvre, Paris.

 

Als Ausgangspunkt jeder akademisch-künstlerischen Ausbildung zur Erlangung technischer Perfektion steht das Stillleben – es werden Proportionen, Perspektiven, Lichtverhältnisse und Oberflächenstrukturen studiert und auf der Leinwand wiedergegeben. Für gewöhnlich erlaubt gerade das so klassische Stillleben keinen Raum für „Kreativität“, und dennoch erfuhr diese Gattung spätestens seit Paul Cézanne (1839-1906) ihre Emanzipation und wird zur Quelle der Inspiration und Variation. Dem Künstler gelang es, in der freien Konzeption des Stilllebens die eigene künstlerische Wahrheit zu finden. In der bewussten Vernachlässigung von Perspektive, Proportion und Oberflächenstruktur zeigt sich nicht nur eine Umformulierung der Ausdrucksformen, es gelang den jungen „Wilden“, allen voran Matisse, auch, einen Skandal in der Kunstgeschichte auszulösen. Die Auflösung der Objekte in Flächen und die autonome Verwendung der Farbe stellte ihre Neuinterpretation der klassischen Gattungen dar. Die Künstler um die vorige Jahrhundertwende waren auf der Suche nach einer ihnen eigenen Wahrheit der Malerei, die sie mitunter auch in der Darstellung einer Obstschale auf dem Tisch fanden.

 

Henri Matisse, Früchte und Bronze, 1910.
Öl auf Leinwand, 91 x 118,3 cm.
Staatliches Museum für Bildende Künst A. S. Puschkin, Moskau.

 

Finden Sie die Werke des jungen, „wilden“ Matisse noch bis zum 17. März 2013 im Metropolitan Museum of Art in New York in der Ausstellung Matisse – In Search of True Painting und begleiten Sie ihn auf der Suche nach der wahren Malerei. Alternativ und zum Nachschlagen bietet der Verlag Parkstone International mit dem Titel Stillleben oder Meisterwerke der Blumenmalerei, beide von Victoria Charles, einen Überblick über die Geschichte des Stilllebens.

Musings... and Matisse

How does one gain immortality these days? No, this is actually a serious question! For the Ancient Egyptians, they took the important person’s corpse, removed the intestines and the other major decomposable parts (excepting the heart of course... every rookie embalmer knows that!), dried the body out with natron*, stuffed it with sawdust, wrapped it in linen, placed it in a couple of coffins, and then put it inside a large sarcophagus**. Easy. Then, they left the now-mummified body, erected a gigantic marking stone (obviously why the pyramids were built), and voila: today practically everybody and their grandmother knows the name of Tutankhamen.  Not bad for a 5,000 year-old mummy!

However, in today’s society many people like to achieve fame, notoriety, and assurance of impending immortality (or at least of an immortalised image) whilst they’re still alive. I know, weird, right?! Thus, we are faced with the likes of Paris Hilton and Kim Kardashian (congratulations on the baby news by the way).


Johannes Vermeer
Girl with a Pearl Earring, c. 1665.
Oil on canvas, 44.5 x 39 cm.
Mauritshuis, The Hague.

Then again, some people achieve fame, notoriety, and assurance of immortality quite involuntarily. How? You might legitimately be wondering. Well, by serving as a muse. For instance, where would Leonardo da Vinci be without the woman who sat for the Mona Lisa? The mysterious girl who was the inspiration for Vermeer’s Girl with a Pearl Earring –brought to further recognition with the 2003 film of the same name, portrayed as she was by Scarlett Johansson. The actress has also been a muse in her own right: to Woody Allen. What started out as collaboration for Match Point (2005), evolved into further collaborations for Scoop (2006), and the lauded Vicky Christina Barcelona (2008). Speaking of Woody Allen, he is the modern master of the muse. Who could forget Dianne Keaton in Annie Hall (1977), or Mia Farrow in Alice (1990)?

In recent art history, Andy Warhol’s great and troubled muse Edie Sedgwick appeared in many of his short films, whilst Kate Moss has become one of art and fashion’s greatest muses. Of greatest note perhaps are the works she inspired from Lucian Freud, Chuck Close, and Banksy.


Henri Matisse
The Italian Woman (L'Italienne)
1916.
Oil on canvas, 116.7 x 89.5 cm.
Solomon R. Guggenheim Museum, New York

Be that as it may, perhaps one of the most under-appreciated muses of art history is Matisse’s muse: Lorette. Before Lorette, Matisse was often to be found painting still life and landscapes. Lorette provided the inspiration for Matisse to develop a rich and flowing colour palette and sense of line. An increased intimacy with the subject can also be seen; over the period of 7-8 months of Lorette’s modelling for Matisse, we see her expressions change from wary to inviting.  With this professional Italian model, Matisse was ready to abandon abstractionism. After painting Lorette around fifty times during the months that she modelled for him, he took his habit of obsessive painting with him to his future collaborations with models.


Henri Matisse
Lorette in a green dress on black background

I believe that it truly can be said that without the influence of Lorette, Matisse might well not have evolved into the same famed and revered artist that we know today. And Lorette? We do not know what became of her, but she is certainly recognised today – and all because of the fact that she was Matisse’s muse.

*Fun fact: did you know natron is 17% baking soda? Kids: Do not try this at home!

** Disclaimer: This is not a step-by-step guide on how to mummify someone in case you were wondering.

To view more of Matisse’s muses, and to see how they influenced his painting, check out the Metropolitan Museum, New York. The exhibition Matisse: In Search of True Paintings is being held until March 17^th 2013. If New York is a little out of the budget, don’t fear! The books Flowers and Still Life by Victoria Charles chart several masters’ work on the subjects, including that of Matisse. Familiarise yourself with the abstract and the use of line, to fully understand and appreciate the brilliant early work of Matisse.

Lessons to be Learnt from The Wizard of Oz and Matisse

Imagine you’re Dorothy.  You have just escaped Auntie Em and a life of rusticated farm-life.  You step out of your house, and no more black-and-white, but BOOM!  It’s a colour explosion, where you are literally on the other side of the rainbow.  And never mind those Munchkins...

 
What would you think, honestly?  That you are in some strange kind of fever-dream?  Or that you have accidentally ingested a potent hallucinogenic (let’s forget for the moment that Dorothy probably doesn’t know what that is)?  Or, simply, that you’ve just gone crazy?

 


Henri Matisse. 1869–1954, Portrait of Lydia Delectorskaya, 1947. Oil on canvas, 64.5 x 49.5 cm. The State Hermitage Museum, Saint-Petersburg.

 

I think it fair enough to say that these feelings may be eerily similar to those experienced by Matisse and co. upon their first discoveries of the Impressionists, and the likes of van Gogh and John Peter Russell.  Whilst initially taken aback by the liberal use of colour and the breaking of the rules in their painting, Matisse, Munch, and the Fauves (which literally means “The Wild Ones”), went even further.  They broke into abstraction, broke the subject down and simplified it, and colour: bold, unadulterated colour was the basis of all their work.

 
Do you think that if Dorothy knew what lay in wait for her on the other side of the rainbow that she would have been as eager to go? Unlike Dorothy, as the Fauves opened up a bright, shiny, new Technicolour world with their artwork, it is impossible for us to go back.  The age of suppressed and reserved art, the era of black-and-white, has gone.  The question is, do we behave like the Scarecrow and the Tin-Man, ready to face this new and exciting world (albeit one tinged with a few flying monkeys), or do we cower like the Cowardly Lion?  I leave it to you to decide... Remember, there’s no place like home but it’s up to you how you decorate it!

 


Henri Matisse, The Dance, 1909-1910. Oil on canvas, 260 x 391 cm. The State Hermitage Museum, Saint-Petersburg.

 

The Museum Folkwang in Germany is giving visitors a chance to step into their very own version of Oz, with the help of the Fauves and the Expressionists.  I promise that you will not encounter a single Wicked Witch of the West...and no, mother-in-laws do not count.  The Ecstasy of Colour exhibition is ongoing until the 13^th January 2013, so if you are in the area, make sure to pencil it into your diary!  If you can’t quite make it before January, not to worry.  You’ll be able to catch up with Parkstone International’s very own Munch, by Elizabeth Ingles, or Expressionism, written by Ashley Bassie.