In The Studio: Matisse In The Studio

Fran admired and collected other artist’s work for her home, but also as part of her trove of infinite objects that often made their way into her art. From the mad jumble of countless boxes and bags in her studio came often playful “bricolage” works of beauty, humor and imagination. She taught for many years at the New Jersey Center for the Visual Arts, the Newark Museum and was actively teaching until just weeks before her death last year. An award-winning artist, she exhibited at the Museum of Modern Art, the Smithsonian, Victoria and Albert Museum, and in galleries throughout New Jersey. She began her eight-decade career as a fashion designer before moving into painting, printmaking, found art sculpture, book and paper making, and other multi-media arts. Fran studied art at the American School of Fine Arts, Newark School of Fine Arts, and Fairleigh Dickinson University. The works in this exhibition were generously donated by Fran’s family to The 1978 Maplewood Arts Center. Proceeds from all sales will benefit the center as well as public art in the

One must look at the root of the person creating the art to truly understand the beauty of the piece. Matisse attended law school in

Required Text: Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings, eds. Kristine Stiles and Peter Selz, University of California Press, 1996.

Pollock-Krasner Foundation, Artists Rights Society (ARS). (2017). Collection. Retrieved from MOMA Museum of Modern Art, US: Museum of Modern Art [US]/https://www.moma.org/collection/works/78699

Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.

The painting of Prof. Felix Walter (Figure 1) made with watercolour on paper on stretcher by Charles Fraser Comfort stands out as an intriguing piece of artwork because of the visual choices C. F. Comfort has produced. I was able to appreciate this work as I had the privilege of attending the Nuit Blanche exhibit at the Winnipeg Art Gallery, Winnipeg on the first of October, 2016 where Prof. Felix Walter was in display at. I found this particular artistry stood out because of its placement in dominance from the other paintings, the use of contrasting styles using the same medium and the bold textures that divulge the prominence of the subject. The artist, C. F. Comfort is worth being aware of because of his exceptional work such as this painting. The composition fashioned by the art gallery should also be duly noted as it took part in making this particular piece stand out.

With works in every known medium, from every part of the world, throughout all points in history, exploring the vast collection of the Museum of Modern Art was an overwhelming experience. The objects in the Department of European Sculpture and Decorative Arts are an important historical collection, reflecting the development of a number of art forms in Western Europe. The department's holdings covered sculpture in many sizes, woodwork and furniture, ceramics and glass, jewelry, and tapestries. The gallery attracted my appreciation of the realistic qualities of the human body often portrayed in sculpture.

For the show’s finale, Edwards skillfully stitches together a vibrant selection of artist prints and sculpture from the museum’s collection that provide broader context for Francis’ work. They enable visitors to explore European aesthetic developments taking place during Francis’ study and artistic

On September 4, 2016, I visited the Matisse in His Time exhibit at the Oklahoma City Museum of Art. This exhibit is home to a plethora of pieces by many different European artists from the 19th and 20th centuries. While it is focused on Matisse and his extensive works, containing more than 50 of his pieces, there are many portraits and sculptures by other influential artists from that time period including Renoir, Picasso, and Georges Braque. Three of the most appealing works that I encountered in this exhibit are Maurice de Vlaminck’s Portrait of Père Bouju, Pablo Picasso’s Reclining Woman on a Blue Divan, and Henri Matisse’s sculpture series Henriette I, Henriette II, and Henriette III.

Looking through the windows one sees the individual, vivid colors that are characteristic of Matisse’s art. As one steps back, however, the colors become identifiable figures and coalesce to become real, tangible images. The yellow and blue accentuate each other as our sensation is the most intense when two extremes are juxtaposed. Matisse uses color brightness, balance and contrast between colors to improve visual aesthetics. This combination of the dynamic and the static really makes the space come alive.

Introduction: Prior to completing Three Musicians, Pablo Picasso was associated with the refined world of ballet as he became the set designer for multiple performances across Europe. Picasso took inspiration from his experiences with commedia dell’arte and Ballet Russes to complete Three Musicians in Fontainebleau, France during the summer of 1921. Picasso’s influence with theater is evident in this painting as he depicts himself as the Harlequin, which is a common motif found in commedia dell’arte that ties in with the Rose Period from his earlier life. Not only does the Harlequin symbolize theatre and Picasso’s alter-ego but the Perriot and Monk figures are cubist manifestations of his two poet friends, one of whom passed away. Despite

Matisse’s Bonheur de Vivre, Picasso’s Les Demoiselles d’Avignon, and Paul Cézanne’s The Large Bathers (Harris & Zucker, n.d.) were some of the most notable paintings at the beginning of the 20th century. At this time, art had essentially evolved from the impressionist movement, whose ideas were mainly the building blocks of the modernist movement. This paper looks at these specific works with respect to how Picasso’s and Matisse’s pieces can be regarded as having been inspired by and moving away from Cézanne’s piece at the same time.

Henri Matisse’s “The Red Studio” was created in 1911. The painting depicts an art studio with works everywhere hanging on the walls, and on the floor. There are potted plants and sculptures on the tables and the room is mostly red. This 5′ 4″ x 4′ 3″ painting was obviously well named. Red is not the only color, there are hints of blue, yellow, orange, black, green, and pink worked into the painting. Everything in the painting is still. There is no action and no movement, just the still shot of the studio filled with art supplies, paintings, sculptures, furniture, and plants.

The two artworks I have chosen to discuss in this paper are 3-D sculptures of two renowned artists. These surrealists of two amazing sculptures are Rene Magritte and Victor Brauner. Both of their artworks are located at The Menil Collection, Houston TX. These in the round sculptures are entitled Megalomania (La folie des grandeurs) and Sign (Signe). First, Rene Magritte’s medium on his Megalomania masterpiece is bronze. It was sculpted in 1967, and the size of this artwork is 61 x 48 x 32 3/8 inches (Menil). Similarly, Victor Brauner’s medium on his Sign artwork is gilded bronze. The artwork was beautifully crafted as well in 1945 and casted in 1961. The size of this artwork is 12 1/2 x 5 1/4 x 8 1/4 inches (Menil). As I go on, I will

The Museum of Modern Art in New York City is the world’s leading modern art. Its exhibits have been a major influence in creating and stimulating popular awareness of modern art and its accompanying diversity of its styles and movements. The museum’s outstanding collections of modern painting, sculpture, drawings, and prints range from Impressionisms to current movements. Moreover, there are exhibits of modern architecture, industrial design, sculpture, photography, prints and electronic media. The museum presently has a modern art library of 300,000 books and impressive collections of films that are shown regularly. The Museum is said to be the complementary of the Metropolitan Museum