Henri Matisse 1907 works

Henri Matisse
Blue Nude: Memory of Biskra
1907
oil on canvas
92 x 140 in.

 

Mme Matisse: Madras Rouge (The Red Madras Headress)

Summer 1907 (120 Kb); Oil on canvas, 99.4 x 80.5 cm (39 1/8 x 31 3/4 in); Barnes Foundation, Merion, PA

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Musings on art 1907

Kandinsky in Vologda

I spent four or five years searching for her, starting in Moscow where she came from, and where her family (which was Jewish) had been wiped out by the Revolution of 1917. As a young art student, Meerson herself turned out to have been an energetic member of Moscow’s literary and theatrical avant-garde before she moved on, at the age of twenty-one in 1899, to study experimental painting in Munich under Wassily Kandinsky. She became the monitor of Kandinsky’s famous Phalanx Klasse, and a striking figure in the circle of poets and painters surrounding Thomas Mann (Meerson would eventually return to Germany and marry Mann’s brother-in-law).

By the turn of the twentieth century Matisse was already far ahead of his contemporaries, producing work largely unintelligible even in Paris. Meerson left Germany for France in 1905, just in time to catch the Fauve explosion at the Autumn Salon in Paris. (Kandinsky followed her the year after and it seems to have been Meerson, through her fellow painter, Kandinsky’s girlfriend, Gabriele Münter, who introduced Matisse’s work to Kandinsky, himself still a decidedly old-fashioned artist at that point.)

http://www.nybooks.com/articles/18171

In 1907 Marc Chagall was still in Russia.

Guillaume Apollinaire  “Now and then it’s good to pause in our pursuit of happiness and just be happy.”

Abstract painter  Robert Delaunay was servingon the military in France as a librarian.

Wilhelm Worringer German art historian and theorist of expressionism and British modernism.

Kandinsky 1907

Now is the time Wassily Kandinsky

Kandinsky russische Reiter 1907 Fairy Tale

Avant guard

Beaux-arts USA 1885-1920

Art nouveau 1880-1914

Hackers turn dome into R2D2

Matt McGann ‘00 | May 24, 2005 blog http://www.mitadmissions.org/topics/life/hacks_traditions/nerd_movie_update.shtml

http://images.google.com/imgres?imgurl=http://www.artnet.com/Magazine/features/saltz/Images/saltz2-19-3s.jpg&imgrefurl=http://www.artnet.com/Magazine/features/saltz/saltz2-19-03.asp&h=127&w=175&sz=15&hl=en&start=5&um=1&tbnid=zQ2Fb6mCiGBqgM:&tbnh=73&tbnw=100&prev=/images%3Fq%3Dhave%2BMatisse%2527s%2BBathers%2BWith%2Ba%2BTurtle%26svnum%3D10%26um%3D1%26hl%3Den%26client%3Dfirefox-a%26rls%3Dorg.mozilla:en-US:official

Picasso’s Les Demoiselles d’Avignon (1907) and Matisse’s Bathers with a Turtle (1908)

Elizabeth Cowling and John Golding, the curators of Tate Modern’s exhibition, have made a good job of following the artistic relationship between Matisse and Picasso. They, and a platoon of fellow scholars, add much to Yves-Alain Bois’s own recent close reading of the relationship for an exhibition at the Kimbell Art Museum, Fort Worth, Texas. But there is no such thing as a definitive account, any more than a definitive exhibition. No institution can always get what it wants, and some works, such as Les Demoiselles d’Avignon, Picasso’s 1907 time-bomb and arguably the single most important painting of the 20th century, are too fragile to travel. Nor does London have Matisse’s Bathers With a Turtle, his response to Les Demoiselles. There are tranches of works that will not make the journey between all three venues of this touring exhibition. A momentous, tremendous exhibition http://arts.guardian.co.uk/critic/feature/0,,711224,00.html date accessed 5/27/2007