Matisse ePub download

by Rebecca A Rabinow

  • Author: Rebecca A Rabinow
  • ISBN: 0300188579
  • ISBN13: 978-0300188578
  • ePub: 1505 kb | FB2: 1904 kb
  • Language: English
  • Category: History & Criticism
  • Publisher: Yale University Press; UK ed. edition (July 13, 2012)
  • Pages: 260
  • Rating: 4.1/5
  • Votes: 844
  • Format: azw mbr lrf rtf
Matisse ePub download

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Rebecca A. Rabinow (author), Dorthe Aagesen (author). Please provide me with your latest book news, views and details of Waterstones’ special offers. Hardback 256 Pages, Published: 13/07/2012.

Rabinow, Rebecca . Aagesen, Dorthe. This book examines sixty works and more than five decades in a series of chapters by Matisse scholars from the United States and Europe. Num Pages: 256 pages, 200 colour + black-&-white illustrations. ISBN 10: 0300188579, ISBN 13: 9780300188578. BIC Classification: ACXD; AFC; AGB.

Emily Braun, Rebecca A. Rabinow. Henri Matisse, Dorthe Aagesen, Rebecca A. This groundbreaking new history of Cubism, based on works from the most significant private collection in the world today, is written by many of the field's premier art historians and scholars. The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde. Henri Matisse, Pablo Picasso, Janet C. Bishop, Cécile Debray, Rebecca A. Rabinow, Grand Palais.

Matisse is shown revisiting a given theme with the aim of devising innovative, often radical, solutions to such problems .

Matisse is shown revisiting a given theme with the aim of devising innovative, often radical, solutions to such problems as how to portray light, handle paint, select colors, and manipulate perspective. New technical studies of the early paired works and photographs documenting the evolution of his later paintings help to elucidate Matisse's complex evolution.

Rabinow Rebecca A. Aagesen Dorthe

Rabinow Rebecca A. Aagesen Dorthe.

More than most artists, Henri Matisse conducted an ongoing dialogue with his earlier works, continually questioning himself and his methods in order to, as he put it, push further and deeper into true painting. This book examines sixty works and more than five decades in a series of chapters by Matisse scholars from the United States and Europe.
This volume is the catalogue that accompanies the exhibition of the same name currently mounted in Copenhagen at the Statens Museum (from July through October 2012) and coming to The Metropolitan Museum in New York from December 2012 to March 2013. A kind of preliminary version of the exhibition was presented at the Beaubourg in Paris from March to June 2012 under the title "Matisse: paires et series" and has its own catalog, so titled and available in a bilingual French and English version, edited by Cecile Debray. The English title of the exhibition and catalogue comes from something that Matisse wrote in a letter to his wife in 1919, namely that his artistic goal was always to "push further and deeper into true painting." In order to find out how Matisse gets to "true painting," the curators of the exhibition have focussed on the artist's repetitive images, i.e. the pairs, trios, and series that he produced throughout his career. As is well known, in the years around 1910, Matisse painted about a dozen pairs of canvases, i.e. pictures of the same subject and in the same format but in very different styles, so that they needed to be differentiated as I and II (e.g. "Young Sailor I" and "Young Sailor II" [both from 1906] or "Le Luxe I" [1907] and "Le Luxe II" [1907-08]). However, the curators contend--and convincingly demonstrate--that the process of duplication was in fact a life-long procedure, a kind of continuous questioning of himself and his methods, that is to say that Matisse was an artist who, in their nice formulation, constantly "conducted a dialogue with his earlier works" (3). And so they have brought together paintings from 1897 to 1948 and put them into sometimes remarkably synergistic juxtaposition and invited us to consider Matisse's duplications as a fundamental aspect of his artistic technique. In this it is brilliantly successful.

And the catalogue is superb. There are sixty-four full-page reproductions of the exhibits, accompanied by ninety-two companion illustrations and figures of at least 1/4-page size. The paper is only partly lustrous but seems able to register color and detail with great fidelity. There is analysis and commentary by fifteen writers who are among the most eminent and authoritative in Matisse studies today (D'Alessandro, Debray, Flam, Labrusse, Spurling, Wright et. al.) They contribute twenty-eight short essays (probably better to call them "articles") on the paintings, each with a very sharp focus., e.g. "Laurette: Line and Color" or "An Experiment in Deformation." The articles are arranged chronologically, and the illustrations and catalogue paintings accompany them, so that one feels a logical progression through Matisse's development and at the same time is spared much page-flipping from article to catalogue. I found most of the articles to be very informative, and I learned a lot by seeing the paintings almost side-by-side. Given that some of the earlier works were extensively treated just two years ago in the great Chicago and New York exhibition "Matisse: Radical Invention 1913-1917," I had some hesitation about buying this book also, but I'm glad I did: the focus and context here are quite different, so there is no fundamental overlap between the two catalogues. The "Works in the Exhibition" compilation offers exceptionally detailed documentation, including complete provenance, prior exhibitions, and a compendium of references that amount to an individualized bibliography for each work. The volume concludes with a comprehensive list of prior Matisse exhibitions (from his first public show at Ambroise Vollard's gallery in 1904 to a 2012 installation in Brisbane), a bibliography of cited references, and a detailed index. This is a beautifully printed and produced book, another great triumph of The Metropolitan Museum's Publications division, and I cannot recommend it highly enough.
This book helps you to understand the process of
Matisse's art. The book is well thought out as
is the fabulous show at The Metropolitan Museum
of Art in New York City. If you can't get to the
see the art the book is 2nd best. Even the front and
back cover of this book helps you to understand the
way Matisse was thinking about and deconstructing
his subjects. You won't be sorry if you purchase this
wonderful book.
It has many full page, colour photos of his work. It does a good job at helping me understand how he got to his finished works, through multiple drawings and canvases. He would paint two or more canvases and they are printed in this book. His use of multiple planes is explained somewhat. Not as crazy stuff but as a complicated, intentional effort to get to his intended emotion. I`ve enjoyed his paintings for years. This is the first book on him or his paintings I`ve read. It is a having a beneficial effect on my work.
Matisse is such a famous artist, don't you wonder what it is that makes his work still so appealing years after they were painted? You might wonder why he painted what he did, who or what were his influences were, how he painted, why there were two or more paintings of the same subject and how they differ or remain the same. Or you might start out looking at these beautiful pictures and their vibrant patterns and colors; then you might want to know more and read the essays which accompany each series and address these issues.
This is a great show and the catalogue elucidates the premise of the exhibit beautifully.
Reproductions are excellent and the format is very manageable. Most monographs are
large and heavy, this is not.
On first impression the matt quality of the reproductions put me off. I then began to realize I was seeing too many slick and shiny art books and then began to appreciate the more true surface. Excellent reproductions and text about a specific aspect of Matisse's art. Be aware it is not a general survey.
Lahorns Gods
Missing illustrated catalogue raisonne. The catalogue is filled with very short essays but the image quality is just average. The exhibition is wonderful. The catalogue does not reflect this.
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