Matisse said, "The whole arrangement of my picture is expressive. The placement of figures or objects, the empty spaces around them, the proportions, everything plays a part"2. Heavily influenced by Fauvism, Matisse had already begun experimenting with characteristic wild brush strokes and strident colors, whilst his subject matter had a high degree of simplification and abstraction. "View of Notre- Dame"3, painted by Matisse was considered to be one of his experimental artworks. .
Even though Matisse was imitating nature, it is very hard to grasp what it is exactly that he has painted. He extensively simplified the matter into a geometric composition, with a very limited palette of colors - "a single color stands for water, sky, and shadow, as well as for oil and canvas"4, hence the only clue to the subject is, the title of the artwork. Black lines and curves define forms, and also serve as a grid. Marcel Sembat, a friend of Matisse, wrote about this view of Notre- Dame as "lopsided", which no one would understand immediately". This statement, proved to be the challenge for many artists who, later on, searched for something more than an imitation.
Kandinsky's journey of artistic discoveries began when he first viewed an exhibit of paintings by Monet and was particularly inspired by the famous impressionist art works "Haystacks"5 which seemed to distinguish the powerful sense of color from the form itself - "That it was a haystack the catalog informed me. I could not recognize it. This non recognition was painful to me. I considered that the painter had no right to paint indistinctly. I dully felt that the object of the painting was missing. And I noticed with surprise and confusion that the picture not only gripped me, but impressed itself on my memory. Painting took on a fairy-tale power and splendor.".
He also made significant connections between music and art, when he said of Wagner's musical composition "Lohengrin"6 - "The violins, the contra-bassoons and, in particular, all the woodwinds, brought before me the splendor of that hour.
Two of the Fauves, Henri Matisse and Georges Rouault, stand out. Matisse was the leader of the Fauves and the oldest member. ... Matisse left out as much as possible or used indirect depictions. ... Matisse's view of art was contrasted by that of Rouault. ... Kandinsky was one of the leaders of the group. ...
ECSTASY IN EVERY COLOUR Galleries: In Paris, the superb new Matisse show astonishes Richard Cork with its revelatory scope. ... By 1905, Matisse had become notorious. ... Nobody less like a "wild beast" than the meditative Matisse could be imagined. ... Matisse was surely right to regard it as a study rather than a fully convincing achievement. ... And Matisse has charged all the bodies with a coiled vigour. ...
Malevich saw Suprematism as representing a yearning for space, an impulse to break free from the globe of the earth. ... Among Malevich's students and contemporaries were such names as El Lissitzsky, Alexsandr Rodchenko and Vladimir Tatlin who were, of course, to lead the Constructivist movement which started in the same year as Malevich's exhibition. ... After the October Revolution both Tatlin and Malevich opened up art schools. Malevich's Suprematist school was similar in style but not ideology to the De Stijl movement in Holland, while the Constructivist school of Tatlin...
*MATISSE* My Famous artist is Henri Émile Benot Matisse. Matisse was born in December of 1869 and dies in November of 1954. ... Madame Matisse: madras rouge. 1907. ... Matisse's own early style was a conventional form of naturalism, and he made many copies after the old masters. ... The Musee Matisse was opened in 1952 at Le Cateau-Cambesisi and Matisse died on November 3, 1954 and was buried in the cemetery at Cimiez. ...
Malevich saw Suprematism as representing a yearning for space, an impulse to break free from the globe of the earth. ... Among Malevich's students and contemporaries were such names as El Lissitzsky, Alexsandr Rodchenko and Vladimir Tatlin who were, of course, to lead the Constructivist movement which started in the same year as Malevich's exhibition. ... After the October Revolution both Tatlin and Malevich opened up art schools. Malevich's Suprematist school was similar in style but not ideology to the De Stijl movement in Holland, while the Constructivist school of Tatlin...
Wassily Kandinsky Wassily Kandinsky, a Russian native, has been quite an inspirational artist throughout history. Kandinsky was a pioneer painter of abstract masterpieces. ... Wassily Kandinsky was born on December 4, 1866 in Moscow. ... After Kandinsky's parents divorced, Kandinsky lived with his aunt, Elizaveta Tikheeva. ... The cello fascinated Kandinsky; he became quite an excelled cellist and also found a love for playing the piano (Kandinsky, v-x). ...
For a production in 1915, Malevich proposed a black square as a backdrop. ... Malevich was very intrigued by flight, airplanes and antigravity. ... For most of Malevich's paintings depicting flight, the view is from above. ... In elevating his paintings Malevich disconnected his works from the earth. ... She became a member of "Supremus," organized by Malevich. ...
Wassily Kandinsky played a major role in this group, like some of his other colleagues, Kandinsky continued to explore new territories and open up new dimensions. ... In 1910, Kandinsky wrote a historic essay, and finally had a breakthrough to non-objective painting. ... Kandinsky often made references to Goethe's ideas. Kandinsky like Goethe believed that there was a connection between science, spirituality and art. ... (Dube 1972, p. 112) Kandinsky new the answer to this, he had finally reached the peak of his expressionism. ...
Matisse's Harmony in Red, was painted towards the end of the Fauvist movement in 1908. ... Matisse also intended for the artwork to be bold and stimulating to the eye. ... The emerging techniques and theories of Fauvism inspired Matisse to experiment with his work, more then ever. Furthermore, artists such as Paul Gauguin, Paul Cezanne and Vincent Van Gogh appear to have had a profound effect on Matisse's style. ... This characteristic is one of Matisse's personal techniques. ...
