Baltimore Museum of Art

Baltimore Museum of Art

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다음 작품들은 앙리 마티즈의 그림입니다

HENRI MATISSE(French, 1869-1954)

Painter in the Olive Grove(1922 Oil on canvas)

In this charming landscape, Henriette Darricarrere, Matisse's favorite model during the 1902s, posed as an artist at her easel. Henriette was a talented dancer, and Matisse encouraged her to pursue her musical and artistic training. He often depicted her playing an instrument or standing behind an easel. Here she is studiously working on a landscape of her own, dwarfed by the large olive trees above her that bend into decorative arabesques.

Purple Robe and Anemones(1937 Oil canbas)

Lydia Delectorskaya, Matisse's Russian studio assistant and muse, was the model for Purple Rove and Anemones.  Lydia sits quietly amid a wild explosion of color and line, as Matisse balances competing patterns and contours of warm and cool tones. The painting is alive with energy, as the lines in her robe echo the patterns on th wall bhind her and the jug in the foreground. In some areas of the composition such as in the purple robe, the artist uses a scraping technique to form stripes. In other parts, such as the decorative elements of the table in the foreground, he uses paint to describe the pattern. Matisse was apparently very fond of this elegant purple robe, since he made several paintings in which a model wears it in a similar setting.  Throughout his life, Matisse filled his studio with lush flowers. North African furnishings and exotic fabrics. He delighted in including these elements in his paintings, using them to evoke a mood of ease and voluptuousness

The Blue Eyes(1935 Oil canvas) 

In this painting, Lydia Delectorskaya, one of Matisse's favorite models, confronts us with her penetrating gaze as she leans into the viewer's space. As informal and immediate as this pose appears, Matissydia soon a number of studies for this work in which he experimented with the composition. Lyndia soon became a constant presence in his studio, eventually becoming his loyal secretary. She ran the studio for him, interviewed  young women to serve as his  models, and even chose the costumes the sitters wore while posing. Two years later, Lyndia  modeled for Purple Robe and Anemones, it is interesting to compare the more spontaneous and casual feeling of The Blue Eyes with the more formally posed and elegant later work. 

Blue Nude(1907 Oil on canvas)

During the early months 1907 in Collioure, a town on the French Riviera, Matisse painted Blue Nude, a work that marked a pivotal point in his career. Produced at the end of his Fauvist period, this remarkable life-size nude was unprecedented in its scale and physicality. It was the first major painting Matisse executed after the death of his artistic mentor Paul Cezanne in 1906. With its predominately blue palette and sense of solidity and form, it was his homage to Cezanne. It was also a strong reaction against the more traditional idealized nudes that were popular in the nineteenth century.

In Blue Nude the figure is vigorously painted and sculpturally modeled, and the work evokes a world conceived in terms of dynamism and flux. The painting also reflects. Matisse's admiration for African art (he was one of the first European artists to appreciate its inherent aesthetic qualities). The earthy and sensual figure is symbolic of the primitive intensity of Africa, inspired by his first trip to North Africa in 1906. The palms in the background are a reference to the exotic landscape he saw in Algeria.

Matisse first exhibited Blue Nude at the 1907 Salon des Independants in Paris, where it was reviled by critics and attacked by the public for what they saw as its gratuitous ugliness. Leo Stein purchased the painting and later lent it to the Armory Show in New York, Chicago, and Boston in 1913 where it met with criticism, even prompting students at the Art Institute of Chicago to burn a reproduction of it in protest.

Large Reclining Nude(1935 Oil canbas)

The original composition for large Reclining Nude began as a conventional nude figure reclining in an interior space furnished with a chair and vase of flowers. Over a period of six months, Matisse transformed the painting into a masterpiece of geometry, simplified form, and flat color. Throughout this long Process, he explored variations of pose and attitude, altering the figure's position and increasing the level of abstraction. Matisse pinned pieces of colored paper to the painting's surface to work out the composition_ a practice that anticipates his celebrated paper cut-outs in the flowering decades. Twenty-two photographs documenting the artist's process record every stage of the painting's development. In 1935, Matisse sent all the photographs to Etta Cone, his patron in Baltimore, to involve her in the project. Matisse's shrewd tactic paid off: Etta could not resist purchasing the finished painting the following year.

Anmones and Chinese Vase(1902)

still life, Banquet of Dahlias and White Book 

Two Girls, Red and Green Background

Striped Robe, Anemones  

Ballet dancer, seated on a stool

MATISSE IN NICE

In 1917matisse traveled to Nice, in the south of France, searching for new subjects to paint. The special quality of light and the congenial atmosphere of the Mediterranean coast inspired him, and over the next Twenty-five years he spent at least part of each year painting there until he moved to nearby Venice during World War Ⅱ. His works of this period are distinguished by an ever-increasing interest in light, color pattern, and line. one of the greatest strengths of The Cone Collection is the impressive group of paintings from the artist's early Nice period, generally considered to extend from 1917 to 1930. These works include landscapes, still lifes, interiors, and figure paintings that are admired for their decorative and colorful style.

After her sister's death in 1929, the already warm relationship between Etta Cone and Matisse grew stronger just as her partnership and Claribel had furled her interest in acquiring art, her involvement with Matisse inspired Etta to continue to add to the extraordinary collection of his works from the 1930s and 1940s. During this period, he offered many of his works to Etta almost as soon as he had finished painting them. The Cone Collection provides wonderful insights into the development of the artist's late style, along with some of his most inventive compositions, which feature an increasing abstraction, a shallower sense of space, and bolder, flatter colors.

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CAMILLE PISSARRO(French,1830-1903)

The Highway(La Cote du Valhermeil, Auvers-sur-Oise) 1880 Oil on canvas

Around 1880, Pissarro painted a number of views of Valhermeil, a hamlet near Pontoise northwest of Paris, where he settled after the Franco-Prussian War. Although he would not adopt a pointillist technique until 1885, the small, regular touches of pigment in certain areas of this work suggest the direction he would later pursue.

CLAUDE MONET(French, 1840-1926)

Charing Cross Bridge, Reflections on the Thames(1899-1904)

Monet produced about thirty-five paintings of Charing Cross Bridge in London. This version shows the Thames on a sunny morning,when the atmosphere's relative clarity allows for the depiction of Westminster Bridge, and even the

suspension bridge  at Lambeth. Sunlight and its reflection on the water, created with yellows,blues, and greens,

dminate the composition; the bright palette distinguishes this painting from Monet's other views of the same motif.

Pablo Picasso 1881-1973 Spanish

 Mother and Child

 Pablo Picasso

 (Woman with Bangs - 1902,)

Pierre Bonnard 1867-1947, French

 Breakfast in the Garden(1916) 

 Both a graphic artist and painter. Bonnard was a founding member of the Navis, a groupof innovative young men who,  during the 1890s rejected impressionism, and took their insperation from the art of Paul Gaufuin and from Japenese prints. Central to the movement was a highly decrative use of expressive line, form and planes of color that were also meant to evoke an emotional of spiritual reponse in the viewer.

 Many of Bonnard's vibrant compositions focus on domestic setting which often feature still lifes. Here , a boldly colored checkered tablecloth forms the lively background for an arangement of breakfast items. Beyond of the table, a small cluster of greenery suggests a garden and to the right, a woman, partly in shadow, presides over the repast. 

Cezanne(French 1839-1906 )

Bathers(1898-1900)

Cezanne's interest in the motif of the bathers in a landscape began in the 1860s and continued to appear in his compositions throughout his career. He produced a harmonious vision of figures in a landscape in which all of the separate elements - bodies, trees, water, earth - are of equal importance.

Gertude and Lae Stein, who were early supporters of the artist's work purchased this composition from his dealer in 1904 or 1905. The painting had been included in the Large Cezanne retrospective of the salon d'Automne of 1904, and it may have been there that the Steins first saw it and decided to acquire it. Cezanne subsequently sold the work to Etta Cone in 1926, but in the intervening years it was seen by countless artists and writers who gravitated to the Steins.

PAUL CEZANNE(1839-1906)

-  Mount Sainte victoire seen from the Bibemus Quarry, 1897 -

VINCENT VAN GOGH(1853-1890)

-  Landscape with Figures (1889. Oil on canvas) -

PAUL GAUGUIN(French 1848-1903)

woman of the mango

PAUL GAUGUIN(French 1848-1903)

Portrait of Fritz Schekud

ODIlOn REDON (French 1840-1906)

Peonies (1900-1905 Oil on canvas)

Pirior to the 1890, Redon worked mainly in black and white, producing both lithographs and a large number of charcoal drawing called Noirs, which evoke a subjective realm of mystery and melancholy. His imagery appealed, in particular, to such symbolist writers as stephane Mallarme and Joris-Karl Huys mans.

Around 1890, Rodan's art underwent a major change with the introduction lf pure opulent color. Although he continued to present images drawn from his complex inner thoughts, he also explored new subject matter notably flowers. Here the artist has pointed red peonies and other small brightly colored flowers arranged in a vase. There is only the suggestion of a tabletop, and the still life seems suspended within its own intimate space.

HENRI ROUSSEAU (French 1844-1910)

View of th Quai d'Ivry Near th Port a l'Anglsis Seine (Family Fishing 1900 Oil canvas) 

PIERRE AUGUSTE RENOIR(French 1841-1919 )

-  Child with Hoop(1875 Oil on canvas) -

PIERRE AUGUSTE RENOIR(French 1841-1919 )

- Olive Trees (1905 Oil canvas)

Heri Edmond cross(1856 – 1910, French)

Nude(1895 - 1896)

Marc Shagal (french- Russian 1887-1985)

-  The lark concert (1968) -