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Henri Émile Benoît Matisse (French: [ɑ̃ʁi emil bənwa matis]; 31 December 1869 – 3 November 1954) was a French visual artist, known for both his use of colour and his fluid and original draughtsmanship.
The painting is Matisse's most important work in which he used the Divisionist technique advocated by Signac. Divisionism is created by individual dots of colors placed strategically on the canvas in order to appear blended from a distance; Matisse's variant of this style is created by numerous short dashes of color to develop the forms that are seen in the image. [8]
Matisse spent the summer of 1905 painting and drawing in the Mediterranean fishing town of Collioure, France with fellow artist André Derain. [4] During this time, Matisse and Derain explored the role of color in their art, using blotches of bright and bold colors that did not always follow the actual natural coloring of their subject.
That is to say, Matisse originally painted the canvas a pale yellow. He then painted over that color with a thinly applied rusty, rich red, leaving thin bands of the under-color to serve as line. This same approach can be seen in works by Frank Stella, although he left bands of raw canvas. [4]
A still life, the painting features "Matisse's own plants, his own garden furniture, and his own fish tank." [2] Additionally, Matisse's "depiction of space" in the piece creates a tension. The goldfish can be seen from two different angles simultaneously: from the front, where the viewer can immediately recognise them, and from above, where ...
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Bathers with a Turtle by Henri Matisse in 1907-1908 Henri Matisse. The painting reworks elements from Matisse's 1897 work The Desert. [1] While that work was in an Impressionist style, the intense colors of the later painting are more consistent with Fauvism. The red of the room contrasts with the dark green of the landscape depicted outside ...
In March 1909, Matisse painted a preliminary version of this work, known as Dance (I). [3] It was a compositional study and uses paler colors and less detail. [4] The painting was highly regarded by the artist who once called it "the overpowering climax of luminosity"; it is also featured in the background of Matisse's Nasturtiums with the Painting "Dance I", (1912).