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Posts Tagged ‘Museum of Modern Art’

RedStudio

Charles Jencks’ book on Post-Modernism was at 700 JE on the library shelf. What a relief, I had to refresh my memory on what he says about Pruitt-Igoe.  But at 700 HO, right next to Jencks, was “Art for Dummies.”  I pulled it off the shelf, hoping to find something to chuckle over after a week of overworking myself.  Hoving!  They got Thomas Hoving to contribute to the For Dummies series?!  I opened the book at random and there on p. 173 under the heading “Is Modern Art Something of a Joke?” I found this wonderful paragraph:

“Modern art is, admittedly, rash, confusing, prone to making one suspect that it’s all a joke, annoying at times, and forever puzzling as to meaning and significance.  Yet, much of it possesses a power and an elegance equal to the greatest earlier movements and styles in Western art.  The real gift of Modern art is that it allowed artists, if they wanted, to go far beyond the rather restricted practice of copying a subject faithfully.  Pure energy could be expressed.  So could mysterious emotion.  It takes dedication and lots of work to come to grips with Modern art, but when you have saturated yourself in it, you will, in time, appreciate the explosive genius of Picasso and the infinite calm and serenity of its most illustrious master, who is, in my opinion Henri Matisse.  He once observed that he wanted to create an art that might be so comforting that tired businessmen would readily turn to it for solace.  Once you gaze at his triumphant Red Studio or Luxe, Calme et Volupté, in New York’s Museum of Modern Art, you’ll see that he succeeded.”

I took it to the circulation desk and checked it out along with the architecture books.  In his Art for Dummies book Hoving inserts some cartoons by Rich Tennant—something to chuckle over, after all.

LuxeCalmVolupte

Henri Matiss,  Red Studio, 1911

Henru Matisse, Luxe, Calme et Volupté, 1904

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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I took all these close-ups at the MoMA earlier this month. What you see is how I framed the shot as I stood in front of the Matisse painting. There was no tweaking in Photoshop. Now that I have these passages in a series, I can see my eye at work. They all have my compositional bias and look like something I might have painted, if I say so myself.
Tomorrow you’ll see the whole Matisse painting here. I invite you to copy and paste the image into your own computer and play the cropping game. Chances are, you’ll learn something about yourself.

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https://artamaze.wordpress.com/2014/12/29/matisse-zoom-four/

https://artamaze.wordpress.com/2014/12/28/%EF%BB%BFmatisse-zoom-three/

https://artamaze.wordpress.com/2014/12/27/matisse-zoom-two/

https://artamaze.wordpress.com/2014/12/26/matisse-zoom-one/


All contents copyright (C) 2010 Katherine Hilden. All rights reserved.
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http://katherinehilden.wordpress.com
http://www.katherinehilden.com
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The lifelong and fruitful rivalry between Picasso and Matisse is already evident in 1907, when Picasso is working on Les Demoiselles D’Avignon. Matisse had exhibited Le Bonheur de vivre in 1906. It is widely bonheurdeVivreridiculed by Parisians, but Picasso sees in it a daring move forward in the game of overriding the past. The “game” is to invent a new art, an art that’s against what has gone before. And here is Matisse quoting from the Renaissance and thumbing his nose at it at the same time. For Picasso this presents a challenge: could he come up with something more shocking. He starts working on Les Demoiselles at the end of 1906 BlueNudealready. Then in the spring of 1907 Matisse comes out with another shocker: Blue Nude, Memory of Biskra. The fact that a leading art critic at the time, Bernard Berenson, calls the painting “a toad,” is encouraging, it means that bourgeois taste is being offended. That’s the program: “épater le bourgeois” (to shock the conventionally-minded middle class).
LesDemoiselleDAvignonIn the fall of 1907 Picasso finishes Les Demoiselles d’Avignon and has some friends and collectors over. “Those invited to a viewing found it as baffling as the stuff Matisse was currently producing. Picasso’s three closest friends—the writers Guillaume Apollinaire, Max Jacob and André Salmon—were noncommittal. Kahnweiler considered the painting a failure, and Leo Stein burst out laughing when he saw it.” (Hilary Spurling, The Unknown Matisse, p379)
Picasso kept it in his studio until it was exhibited for the first time in 1916 at the Salon d’Antin, Paris, when André Salmon gave it the title by which it is known. The title comes from Picasso’s private joking with friends about a notorious brothel on Avignon Street in Barcelona. Picasso later said he disliked the title.
Jacques Doucet (1853–1929), a wealthy Parisian fashion designer purchased the painting in transactions lasting from 1924-1929.
Jacques Seligmann & Co., New York, purchased it from Madame Doucet in September 1937.
The Museum of Modern Art, New York purchased it from Seligmann, 1937- 1939, where it has been drawing crowds ever since.
Les Demoiselles d’Avignon is considered to be an icon of modernism. “Icon” is a strange word to be used in talking about modernism. More on that later.
All contents copyright (C) 2010 Katherine Hilden. All rights reserved.
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