Pablo Picasso and Henri Matisse
"Stick to poetry" was Picasso's advice, and to a very large extent Jacob took it. It was, in fact, the beginning of his first real relationship, the first time in his life he . It was at the rue de Fleurus that Picasso met Henri Matisse. Their relationship and their art take on new significance in a remarkable exhibition, “Matisse Picasso,” opening February 13 at New York's Museum of Modern. KERA: Yve-Alain, some critics have written about Matisse and Picasso as though It casts them too much in bronze, when in fact their relationship is very fluid.
Both turned down the offer. Delocque-Fourcaud, the director of the Museum of Air and Space, at Le Bourget Airport, north of Paris, told ARTnews that the approach had been made through lawyers and was therefore confidential under French law, but he verified the amount.
He called the offer not only insulting but unnecessary. Instead, I was offered a bribe at the last minute. His quarrel is with the Russian state. Both Delocque-Fourcaud and Konowaloff, a businessman who also lives in France, have stated repeatedly that they are not asking for the restitution of the paintings.
Picasso and Henri Matisse
Five years later, inthe city took over the Shchukin mansion, and the Shchukin paintings were moved to the Morozov house. The Museum of New Western Art became independent. Clouds soon gathered over the new institution. Anatoly Lunacharsky, commissar for enlightenment, wanted to create a fine-arts museum in Moscow. So in the Shchukin and Morozov collections were divided, with 43 paintings, including 8 Picassos and 6 Matisses, going to Leningrad now Saint Petersburg.
Additional works—by Monet, Gauguin, Degas, and Maillol—were dispatched. But four of the most important paintings promised never reached Moscow. Instead, they surfaced in Washington, D. In they convinced Stalin that it was a hotbed of formalism and bourgeois decadence, and had to be closed.
The despoiled Morozov mansion became the home of the Academy of Arts. A decision had to be made about the fate of the collection, which included paintings as well as graphics and sculptures. Finally, officials decided to divide the collection between the storerooms of the Pushkin Museum and the Hermitage. Andrei Chegodaev, the famous Russian art historian, told one of the authors of this article in how he had succeeded in influencing this division.
Visiting the Museum of New Western Art, Chegodaev learned that the paintings were being sorted under the supervision of a certain Neiman, a museum official who knew nothing about French art. Madge Gill Link 79 was never treated as a psychiatric patient, but her behavior suggests both a thought disorder and a mood disorder, and in her later years, alcohol dependence.
She rarely sold any of them, maintaining that they belonged not to her, but to her spirit guide. After her death, thousands of them were found in her home, stacked in cupboards, and piled under the bed. A good example of an Outsider artist with no apparent mental illness is the French postman, Ferdinand Cheval He picked up a stone on his postal route one day and brought it home. Each day he picked up more stones, and, intrigued by them, he began building a structure with them.
Over the next 33 years, this became a passion or an obsession ; eventually, he brought along a wheelbarrow to carry his stones home. The flamboyant castle he created by cementing the stones together is now a French national landmark Link Inat the age of 60, Howard Finster Link 84an ordained minister, received a vision commanding him to produce sacred art.
He was not a mental patient; he had worked as a minister, engaged in his community, and raised a family. He had no training in art, and had never painted in his life. He said he received a a command to complete paintings glorifying the Word of God. He responded with over 16, works and once completed 67 paintings in a single day. Most of these works are now on display at the museum he established for them in Summerville, Georgia Link Although he accepted commissions he painted album covers for the rock groups REM and Talking Headshe remained focused on his spiritual calling — all his paintings are filled with religious images and Bible verses.
Gaston Chaissac Link 86had a few drawing lessons in his youth, but was otherwise untrained; however, he was exposed to the work of contemporary artwork through several artists that he met, who encouraged him. He never received psychiatric treatment, although he had episodes of depression, and lived on the outskirts of society most of his life.
His work clearly reflects the influence of Picasso, Kandinsky, Paul Klee, and Georges Braque, yet, he sought no professional recognition and painted strictly for himself. Magnani left his home village of Portito, Italy, when just a boy; he worked as a cook and a baker, eventually settling in San Francisco.
Although he had no artistic training, he started painting scenes recalled from boyhood, which are remarkably accurate Link Grandma Moses Anna Mary Robertson Moses, Link 88began painting in her 70s, without art instruction, and became famous for her scenes of rural life. John the Painter, a long-term patient in an Irish mental hospital, his date of birth and last name have been withheld by the hospital for reasons of confidentialitywas accorded a one-man show in the Irish National Museum in Link The Museum describes his work Link 88 in this way: Ure is an example of an Outsider artist who wants to be noticed — most avoid public attention.
The advent of internet publishing has made it much easier for Outsider artists to interact with the world, if they want to Link Greg Bottoms has written a fascinating book describing his search for Outsider artists in the American South.
He describes Outsider Art in this way: They are driven by something outside of commercial success or acceptance…. Perfection of craft and vocation are not at all what drives then.
- Conversations: Rivals or Friends?
- Two masters, one friendship: the story of Matisse and Picasso
- Matisse & Picasso
What they care about is getting up every day and engaging with the materials and speaking through these materials about their lives what they mean in a grander scheme [ 29 ], p. The Taiwanese artist, Hung Tung Link 93is an example of this; when the public became interested in buying his paintings, he retreated back to isolation and died in poverty, rather than sell his work. Outsider artists have become the victims of a perverse irony: An exhibition of Outsider Art is held annually in New York and elsewhere, and artists with mental illness are being encouraged by professionals to exhibit and sell their work [ 31 ].
There is even a national organization that promotes art exhibitions by artists with mental illness Link 94and a program in Massachusetts that advises Brut artists how to exhibit and sell their work [ 32 ].
Traditional, or establishment artists study technique and method, in order to improve the quality of their work; the value of such study does not occur to Outsider artists. Similarly, trained artists analyze the great art works of the past; Outsider artists generally know very little about the history of art [ 33 ], [ 34 ]. In formal art training, the student begins with simple forms, exploring line and color, and progresses to more complex designs under supervision; Outsider artists jump right in on whatever subject interests them.
Ulbricht asserts that because of their ignorance and their spontaneity, professional artists would do well to study the work of Outsider artists, whose works are direct expressions of their inner world, not productions made for hire that conform to the expectations of the society in which they live [ 35 ]. Most authors no longer find value in distinguishing between Brut artists and Outsider artists, generally preferring the latter, more inclusive term as more useful [ 36 ].
A more important distinction is that between Outsider Art and mainstream or establishment art. The differences lie primarily in the economics of art and the definition of mental illness in the culture of the artist — not with the art itself. Howard Finster painted in response to a call from God, but so did Michaelangelo Link 99 and the anonymous monks who illuminated the Book of Hours Link And Picasso's painting held a joke for Matisse as well.
A short time before the exchange, Matisse had been attacked in the press for a still life of his own. Picasso's lemon was even flatter than Matisse's. Moreover, Picasso's still life, made at the same time as the Demoiselles, is a clear leap into Cubism. It's like an emblem, showing each other that they understand each other's program.
It's like the first key to understanding them. When Picasso's friend Braque sent a group of his own new paintings to the Salon d'Automne inMatisse was one of the jurors. A critic heard this and baptized "Cubism" in the press. At the same time, though, Matisse took his most important collector,a Russian textile czar named Shchukin, to see the Demoiselles in Picasso's studio. It was an act of great generosity on Matisse's part.
Picasso plunged into Cubism with both feet, collaborating in the beginning with Braque. Matisse's response can best be seen in one of his most beautiful paintings, Portrait of Madame Matisse made inin which her face appears masklike. Picasso was sick that summer and Matisse visited him often.
In Picasso's studio, he saw a white African mask hanging near the portrait of Marguerite he had given Picasso. Of Madame Matisse's portrait, the poet Guillaume Apollinaire said Matisse had reinvented voluptuousness in painting.
Abstract as it is, with its masklike face and flattened sense of space, the serene portrait contrasts strikingly, despite certain similarities in format and subject, with Picasso's Portrait of a Young Girl, done the following year.
In this painting, Picasso's Cubist approach undermines the serenity of the pose. But even in opposition, as in these two portraits, the dialogue between the two artists was clear. Sometimes, however, it was more subtle.
One painter might look far into the other's past, taking up where he had long ago left off. There are many examples of such cross-pollination, but one of the most striking is Picasso's monumental The Three Dancers.Matisse - Picasso, eine unwahrscheinliche Freundschaft
It was done in when he was working on the sets for the great Diaghilev's Ballets Russes. Matisse had done the sets and costumes for a Diaghilev ballet a few years before, which irked Picasso when he heard about it. A balcony with a big red flowerpot falling all over it! The visual analogies are obvious: Picasso's painting, however, was utterly savage, while Matisse's retained some sense of grace.
At the time, Picasso's marriage to Olga, an ex-ballerina, was failing, and he'd just gotten news of an old friend's death. The Three Dancers, like the Demoiselles, was a kind of exorcism. By the s, the two painters had drifted apart. Matisse was ensconced in a hotel in Nice painting luxurious odalisques and drawing portraits of women in plumed hats.
But even then they kept an eye on each other. In the late s Picasso fell in love with Marie-Therese Walter, a young woman almost Grecian in her grace. To paint her, Picasso found himself borrowing the more flowing lines, rounded figures and vivid colors of Matisse. For his part, Matisse continued to distill the luminosity of Nice in his paintings.
It's like a paradise you have no right to analyze, but you are a painter, for God's sake! Nice is so beautiful!
Conversations: Rivals or Friends? | Matisse and Picasso
Alight so soft and tender, despite its brilliance. There were moments when Picasso's portraits and Matisse's seemed painted with the same brush, if not the same hand. Picasso looked after Matisse's paintings, stored in a bank vault. Matisse, in ill health, defended Picasso against his critics. He is living in Paris quietly, has no wish to sell, asks for nothing. At the war's end ina major show of their work was held at the Victoria and AlbertMuseum in London.
As he prepared for this exhibition, Matisse wrote in a notebook: As I'm expecting to see him tomorrow, my mind is at work. I'm doing this propaganda show in London with him. I can imagine the room with my pictures on one side, and his on the other. It's as if I were going to cohabit with an epileptic. His long struggle to purify form, to make figures beautiful by making them simpler, to show essence and erase detail, led him back to the child's art of paper cutouts.