By Jack D. Flam
The key writings of Henri Matisse (1869-1954), except for the letters, are gathered the following besides transcriptions of vital interviews and publicizes given at a number of levels of Matisses occupation. Jack Flam offers a biography, a basic advent that addresses the improvement of Matisses aesthetic values and theories, and a serious creation for every textual content.
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Additional info for Matisse on Art
Tropez: la bate of 1904 which closely resembles, among others, Cezanne's UEstaque: la bale J** Although Matisse's brushwork is broader, his colour brighter, and his form less solid, the painting expresses his desire to treat in his own way some of Cezanne's actual motifs and compositional devices. This may also be seen in Carmelina of 1903 which shares with Cezanne's Portrait de Chocquet 1879-82 55 a similar compositional format (placing the figure firmly in the middle of a forms which echo the format of the painting itself), and an opportunity to series of rectilinear use Cezannesque modelling.
Composition is the art of arranging in a decorative manner the diverse elements at the painter's command to express his feelings. In a picture every part will be visible and will play its appointed role, whether it be principal or secondary. Everything that is not useful in the picture is, it follows, harmful. A work of art must be harmonious in its for the thought any superfluous entirety: detail would replace some other essential detail in the mind of the spectator. Composition, the aim of which should be expression, modified according to the my drawing will have a necessary relationship to its format.
There is an impelling proportion of tones that may arouses in : My My me to change the shape of a figure or to transform my composition. Until I have achieved this proportion in all the parts of the composition I strive towards it and keep on working. Then a moment comes when all the parts have found their definite relationlead and from then on it would be impossible for me to add a stroke to my picture without having to repaint it entirely. In reality, I think that the very theory of complementary colours is not absolute.