Odalisque with Raised Arms
Odalisque With Raised Arms is a painting by Henri Matisse that was competed in 1923. The medium is oil on canvas, and the painting is 23 inches by 26 inches and it currently hangs in Washington D. C. in the National Gallery of Art. His Odalisque paintings were inspired by his trip to Morocco, many of the female subjects in the Odalisque paintings were modeled after Matisses main model at the time, Henriette Darricarrière. The subject of the painting is a sitting in a green. Her figure and the take up the majority of the canvas. She is nude except for sheer, gold-trimmed harem pants that covers her legs, the woman is heavily sexualized by her suggestive pose and how Matisse portrays the curvature of her body. Her breasts are round and idealized, the whole body of the sitter is not idealized because she has hair under her arms, which was considered scandalous by contemporary critics. The brushwork in the painting is loose and shows the movements of the artist. The painting has very little depth, forcing the viewer to confront the woman in the foreground.
The architectural and decorative elements further focus the viewer on the seated female, the shadows and curvature of her body is accentuated in contrast with the flat rendering of patterns in the planes behind her. The red decorative element, possibly a tapestry or a painting, hanging on the wall, the air of comfortability that the woman exudes ensures that even as the viewer’s gaze is taken around the painting, it will always land on the female. This painting is in dialogue with the tradition of the female nude. The history of the depicting the female figure is far too vast to contrast Odalisque with Raised Arms with every painting of a nude woman. It is notable that modern painting was especially interested in straying from convention and this slight rebellion can be seen in the manner in which Matisse paints his subject. She is only semi-reclined, her eyes are open, and though she is not engaging with the viewer by eye contact she seems to exude a level of awareness and her attitude is reminiscent of Édouard Manet’s Olympia.
In Odalisque with Raised Arms her gaze is not confrontational, the slight shift of her eyes to the right invite the viewer to enjoy view of her body, all while she holds the control of how one is seeing her due to her modeled posture. Matisse’s model for many of his paintings including Odalisque with Raised Arms is Henriette Darricarrière, Darricarrière was born in 1901, she studied ballet, violin and painting. She sat for Matisse from 1920 to 1927, Matisse was inspired to paint his Odalisque’s by his trip to Morocco in 1912, he argues for the legitimacy of the subject by stating “‘I do Odalisques in order to do nudes
The Conversation (painting)
The Conversation, a painting by Henri Matisse dating from 1908–1912, depicts the artist and his wife facing each other before a background of intense blue. It is in the collection of the Hermitage Museum in Saint Petersburg and this was among several works acquired directly from Matisse in Paris by the Russian collector Sergei Shchukin. Matisse painted The Conversation at a time when he had abandoned the open, spontaneous brushwork of his Fauve period in favor of a flatter and more decorative style. The painting is large, and shows Matisse in profile, standing at the left in striped pajamas, while his wife, Amélie, the flatly painted blue wall behind them is relieved by a window opening onto a garden landscape. The pajamas worn by Matisse were fashionable as leisure wear in early 20th century France and they had recently been introduced to Europe from India, where they were worn by tea planters, and Matisse habitually thereafter wore pajamas as his studio working clothes. Spurling, Hilary,2005, Matisses Pajamas, The New York Review of Books, August 11,2005, pp.
33–36 Hillary Spurling, Matisses pajamas, online article
Le bonheur de vivre
Le bonheur de vivre is a painting by Henri Matisse. Along with Picassos Les Demoiselles dAvignon, Le bonheur de vivre is regarded as one of the pillars of early modernism, the monumental canvas was first exhibited at the Salon des Indépendants of 1906, where its cadmium colors and spatial distortions caused a public expression of protest and outrage. In the central background of the piece is a group of figures that is similar to the group depicted in his painting The Dance, in the picture, there are several nude bodies of women and men in a landscape drenched with vivid color. Le bonheur de vivre features a large amount of cadmium sulfide-based yellow, portions of the painting containing cadmium sulfide are turning white or brown, degrading the work. University of Delaware Prof. Robert L, “It is a very disheartening phenomenon, considering the painting’s position in history, ” says Opila, professor of materials science at UD. Also, the presence of chloride in the paint appears to be acting as a catalyst for the deterioration and his research team theorize that the binder, an oil similar to linseed oil, may be turning brown.
Barnes Foundation, Le Bonheur de vivre Photo-oxidative degradation of yellow pigments in Matisse’s Le Bonheur de Vivre, a comparison of XANES, XPS, and FTIR methodologies. Cadmium yellow degradation mechanisms in Henri Matisse’s Le Bonheur de vivre compared to the Munch Museum’s The Scream using chemical speciation as a function of depth, Jennifer L. Mass, et al
LAtelier Rouge, known as The Red Studio, is a painting by Henri Matisse from 1911, in the collection of The Museum of Modern Art, New York City. The atelier is the one that Matisse had built for himself in 1909, Matisses own works are carefully arranged in the background. According to the Museum, Angled lines suggest depth, and the light of the window intensifies the sense of interior space. The entire composition is clustered around the axis of the grandfather clock. Time is suspended in this magical space, on the foreground table, an open box of crayons, perhaps a symbolic stand-in for the artist, invites us into the room. But the studio itself, defined by lines and subtle spatial discontinuities. In 2004, LAtelier Rouge came in at No.5 of a poll of 500 art experts voting for the most influential of all works of art, along with works by Pablo Picasso, Marcel Duchamp
Woman on a High Stool
Woman on a High Stool is an oil painting on canvas by the French artist Henri Matisse from early 1914. It is a portrait of Germaine Raynal, the wife of the poet, with its simplified geometric structure, dark contouring, and subdued palette, the work relates closely to Paul Cézanne and Cubism. Henri Matisse, Masterworks from the Museum of Modern Art
Centre Georges Pompidou
It was designed in the style of high-tech architecture by the architectural team of Richard Rogers and Renzo Piano, along with Gianfranco Franchini. Because of its location, the Centre is known locally as Beaubourg and it is named after Georges Pompidou, the President of France from 1969 to 1974 who commissioned the building, and was officially opened on 31 January 1977 by President Valéry Giscard dEstaing. As of 2006, the Centre Pompidou has had over 180 million visitors since 1977 and more than 5,209,678 visitors in 2013, including 3,746,899 for the museum. The sculpture Horizontal by Alexander Calder, a mobile that is 7.6 m tall, was placed in front of the Centre Pompidou in 2012. Hoping to renew the idea of Paris as a city of culture and art. Paris needed a large, free library, as one did not exist at this time. At first the debate concerned Les Halles, but as the settled, in 1968. A year in 1969, the new president adopted the Beaubourg project, in the process of developing the project, the IRCAM was housed in the complex.
By the mid-1980s, the Centre Pompidou was becoming the victim of its huge and unexpected popularity, its activities. By 1992, the Centre de Création Industrielle was incorporated into the Centre Pompidou, since re-opening in 2000 after a three-year renovation, the Centre Pompidou has improved accessibility for visitors. Now they can access the escalators if they pay to enter the museum. The Centre was designed by Italian architect Renzo Piano, British architect Richard Rogers, the project was awarded to this team in an architectural design competition, the results of which were announced in 1971. It was the first time in France that international architects were allowed to participate, world-renowned architects Oscar Niemeyer, Jean Prouvé and Philip Johnson made up the jury which would select one design out of the 681 entries. National Geographic described the reaction to the design as love at second sight, an article in Le Figaro declared Paris has its own monster, just like the one in Loch Ness.
The Pritzker jury said the Pompidou revolutionised museums, transforming what had once been elite monuments into popular places of social and cultural exchange, the Centre was built by GTM and completed in 1977. The building cost 993 million 1972 French francs, renovation work conducted from October 1996 to January 2000 was completed on a budget of 576 million 1999 francs. The black-painted mechanical sculptures are by Tinguely, the works by de Saint-Phalle. Video footage of the fountain appeared frequently throughout the French language telecourse, the Place Georges Pompidou in front of the museum is noted for the presence of street performers, such as mimes and jugglers