Picasso Vs Matisse

Another important element these artists have in common is their similar composition and also their points of view.

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

In this essay, I will be discussing how two famous artists from different times and cultures have created aesthetic qualities in artworks, communicated ideas and developed styles. Frida Kahlo and Pablo Picasso have been chosen to express two very different art styles and how both artists use elements and principles

In my report, I will compare between two famous impressionist artists (Claude Monet and Edgar Degas), they were the movement representative of the Impressionism art and they left their distinctive mark on their paintings.

Monet was greatly influenced by French artist Edouard Manet who was an important painter regarding the move from Realism to Impressionism. While both Manet and Monet had similarities Manet’s artistic style leaned towards Realism while Monet painted with the Impressionism style. The main difference between the painters is the brushstrokes you can see in Monet’s paintings whereas the paintings Manet did have a smoother appearance.

Prompt: Select and fully identify two paintings from different art historical periods and cultures that depict the same subject or theme.  Then discuss how the presentations are a reflection of the culture and style in which it was created.

Pablo Picasso’s Les Demoiselles D’Avignon is considered by many to be a revolutionary breakthrough in the history of modern art. Demoiselles is a “great manifesto of modernist painting” as Picasso had abandoned all known form of traditional art, a radical break from the Western tradition that very much led to the Cubism movement (Bishop, 2002). What made Demoiselles revolutionary was that "in it Picasso broke away from the two central characteristics of European painting since the Renaissance: the classical norm for the human figure, and the spatial illusionism of one-point perspective" (Fry, 1966). Cubism had “destroyed […] the realist conventions for three-dimensional perspective which had been dominant in art since the Renaissance” (Butler, 2010). While generally credited as the first Cubist painting, art historians such as John Golding have argued that it was only a “starting point for the history of Cubism” (1958). Indeed, the picture predicates key characteristics of Cubism like the distortion and break down of objects and figures into distinct shapes, rather than being itself a Cubist painting. This analysis will concentrate on the elements of Cubism in Demoiselles and how it led to the movement.

Pablo Picasso had quite a few things in his life that shaped how he went about his art. One being his relationships with different woman. His relationships with woman really showed through his art and was similar to the modern artists imaginations. Second is in the 1920’s Picasso began to dabble

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.

Piet Mondrian was the source of Calder’s turning toward total abstraction. After a visit to his studio Calder was struck by the walls that were like huge versions of Mondrian’s paintings. He wanted to use those same concepts of abstract colors but to also set them in motion. He was inspired by Henri Matisse’s paintings of flat abstract figures and that direct influence can be seen in pieces such as “Hats Off.” The process of Matisse’s cut paper collages is also similar to Calder’s cut sheets of metal. His friendship with Joan Miro is evidenced in his sculptures, through the often organic, brightly colored shapes that contrast with the sharp geometric architecture of the buildings surrounding them. Miro’s influence is also seen in the subject matter that is used repeatedly; heavily abstracted and biomorphic animal forms, often showing up specifically in bird-like forms: “Flamingo,” “Big Bird,” and “Eagle,” although Calder used other animalistic forms as well, including “Cheval Rouge,” (Red Horse) and even “Le tamanoir” (The

Picasso is more spontaneous application of color, there is less uniformity. In Matisse there are more color schemes, the composition is more rigid, even if it's not more descriptive; it is a still life more organized, with more degree of stability. Unlike nudes of Picasso, the nudes of Matisse with safety on the line and in the tone, makes to describe him as a flat painter. Matisse made a complex image, winning the back of the woman through the looking glass with a few simple strokes, spontaneous, but courteous Matisse achieved the creation of a space, bed, and room which is no longer description to be magic and especially calligraphic rhythm. If Picasso paraphrased other artists, Matisse makes metaphor from other poems, as the mirror

Henri Emile-Benoit Matisse, a well-known French influential artist, was born on December 31, 1869 in LeCateau-Cambresis, France. He was a painter, sculptor, printmaker, and draughtsman, but he was more successful as a painter. Most of the time, his paintings are usually nudes, figures in landscapes, portraits, interior views, and his exaggerated form to express emotions made him a successful artist in the 20th century. He had many other artists that influenced him like Vincent van Gogh, Paul Gauguin, Edward Munch, Paul Signac, John Peter Russell, and Paul Cezanne. Matisse did have a rival name Pablo Picasso who Gertrude Stein introduced them in 1906.

Matisse’s, Bonheur de Vivre and Picasso’s, Demoiselles d’Avignon both compare very favorable with Paul Cézanne’s, The Large Bathers. As the question indicates they are both inspired by Cezanne and yet transcend Cezanne. All of these paintings contain some sort of nudity and are sexualized in some way by it, but in all of these paintings the sensual nature does not define nor does it limit the painting. In fact I'd argue that they all share a common theme of transcending the artistic rules of their time.

The three works in question all have similar subject matter – the human form. Seen below, The Large Bathers is a post-Impressionist piece that takes liberties with the human form.

The Large Bathers, 1898-1905 is the largest of Paul Cezanne's pictures and has been cited as an example of his ideal of composition and his restoration of classic monumentality after its lapse during the nineteenth century. Cézanne’s great achievement forced the young Picasso, Matisse, and many other artists to contend with