Published by MFA Publications, Museum of Fine Arts, Boston. Edited by Ellen McBreen, Helen Burnham. Text by Suzanne Preston Blier, Ann Dumas, Jack Flam, Claudine Grammont, Hélène Ivanoff, Marie-Thérèse Pulvenis de Seligny.
The personal objects in Matisse’s studio form a secret history in his art This book is the first in English to explore the essential role that Henri Matisse’s personal collection of objects played in his studio practice. The artist traveled with his collection even to temporary residences, and letters to family members often included requests for objects to be moved to where he was working, revealing them to be critical creative stimulants. Featured frequently in the modern master’s bold paintings, drawings and cutouts, and influencing the development of his work in sculpture, Matisse’s objects formed a secret history hiding in plain sight. Works that span Matisse’s entire career are presented here alongside the objects that inspired them, from Asian vases and African masks to intricate textiles from the Islamic world. An introduction and five chapters take readers through studies of the object as actor and the studio as theater, the importance of African art in Matisse’s renderings of the human form and his sitters’ inner selves, and the invention and transformation of his own language of signs. With lush illustrations and archival images, Matisse in the Studio provides exceptional insights into the artist at work.
Henri Matisse (1869–1954) was a painter, draftsman, sculptor and printmaker before turning to paper cut-outs in the 1940s. He followed a career-long path that he described as “construction by means of color.”
Ellen McBreen is Associate Professor of Art History at Wheaton College, Massachusetts.
Helen Burnham is Pamela and Peter Voss Curator of Prints and Drawings at the Museum of Fine Arts, Boston.
Suzanne Preston Blier is Allen Whitehill Clowes Professor of Fine Arts and of African and African American Studies at Harvard University.
Ann Dumas is Curator at the Royal Academy of Arts, London.
Jack Flam is Distinguished Professor Emeritus of Art and Art History at Brooklyn College and The Graduate Center of the City University of New York, and President of the Dedalus Foundation.
Claudine Grammont is Director and Chief Curator of the Musée Matisse, Nice.
Hélène Ivanoff is a postdoctoral research fellow at the Frobenius Institute of Johann Wolfgang Goethe University, Frankfurt.
Marie-Thérèse Pulvenis de Seligny is the former Director and Chief Curator of the Musée Matisse, Nice.
Published by Silvana Editoriale. Edited with text by Patrice Deparpe. Text by Claude Duthit, Cèline Chicha-Castex, Marie-Thèrèse Pulvènis de Sèligny.
Matisse and Engraving explores all of the engraving techniques used by Henri Matisse (1869–1954) from 1900 until the end of his life. Though Matisse is known primarily for his mastery of color, engraving was essential to his overall practice. The artist placed equal importance on engraving, drawing, painting and sculpture, with the representation of the human figure essential across all these mediums. This catalogue finally makes accessible this important aspect of her father’s work. For the very first time, the matrices—woodcut, lithograph, drypoint, etching, linocut and more—accompany the works, allowing readers to glimpse the process behind the resulting prints.
PUBLISHER Silvana Editoriale
BOOK FORMAT Paperback, 9.5 x 11 in. / 256 pgs / 259 color.
PUBLISHING STATUS Pub Date 4/26/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2016 p. 163
PRODUCT DETAILS ISBN 9788836632459TRADE List Price: $45.00 CDN $60.00
AVAILABILITY In stock
in stock $45.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Koenig Books. Foreword by Beatrix Ruf. Introduction by Bart Rutten, Geurt Imanse. Text by Patrice Deparpe, Maurice Rummens.
This substantial new hardcover is published to accompany an exhibition at the Stedelijk Museum in Amsterdam. Readers are transported through the museum's Matisse works--an array of Eastern nudes, colorful fabrics, carpets, potted plants and idyllic landscapes--plus a selection of additional paintings, sculptures and works on paper by the French master. At the heart of the exhibition is one of the most beloved works in the Stedelijk's collection: the monumental paper cut-out "The Parakeet and the Mermaid" (1952-53), presented with other Matisse cut-outs and rarely exhibited works in fabric and stained glass inspired by them. Arranged chronologically, the volume guides readers through Matisse's days in Paris, the birth of Fauvism, his representational work made in Nice, through to his work in Polynesia and Oceania. The Oasis of Matisse portrays the artist's output using contextualization with works by his contemporaries, offering a comprehensive overview of his influences. One of modern art's towering figures, Henri Matisse (1869-1954) was a painter, draftsman, sculptor and printmaker before turning to paper cut-outs in the 1940s. From the clashing hues of his Fauvist works made in the South of France in 1904-5, to the harmonies of his Nice interiors from the 1920s, to this brilliant final chapter, Matisse followed a career-long path that he described as "construction by means of color."
Published by The Museum of Modern Art, New York. Edited by Karl Buchberg, Nicholas Cullinan, Jodi Hauptman. Contributions by Samantha Friedman, Flavia Frigeri, Markus Gross, Stephan Lohrengel.
Published in conjunction with the most comprehensive exhibition ever devoted to Henri Matisse’s paper cut-outs, made from the early 1940s until the artist’s death in 1954, this publication presents approximately 150 works in a groundbreaking reassessment of Matisse’s colorful and innovative final chapter. The result of research conducted on two fronts--conservation and curatorial--the catalogue offers a reconsideration of the cut-outs by exploring a host of technical and conceptual issues: the artist’s methods and materials and the role and function of the works in his practice; their economy of means and exploitation of decorative strategies; their environmental aspects; and their double lives, first as contingent and mutable in the studio and ultimately made permanent, a transformation accomplished via mounting and framing. Richly illustrated to present the cut-outs in all of their vibrancy and luminosity, the book includes an introduction and a conservation essay that consider the cut-outs from new theoretical and technical perspectives, and five thematic essays, each focusing on a different moment in the development of the cut-out practice, that provide a chronicle of this radical medium’s unfolding, and period photographs that show the works in process in Matisse’s studio. One of modern art’s towering figures, Henri Matisse (1869–1954) was a painter, draftsman, sculptor and printmaker before turning to paper cut-outs in the 1940s. From the clashing hues of his Fauvist works made in the South of France in 1904–05, to the harmonies of his Nice interiors from the 1920s, to this brilliant final chapter, Matisse followed a career-long path that he described as "construction by means of color."
Karl Buchberg is Senior Conservator at The Museum of Modern Art.
Nicholas Cullinan is Director of the National Portrait Gallery in London.
Jodi Hauptman is a Senior Curator at The Museum of Modern Art.
Samantha Friedman is an assistant curator of the Department of Drawings and Prints at The Museum of Modern Art.
Flavia Frigeri is an assistant curator at Tate Modern in London; she is the organizing curator for Tate’s Young Patrons.
Nicholas Serota is director of Tate Modern's art museums and galleries.
Published by The Museum of Modern Art, New York. Edited by Karl Buchberg, Nicholas Cullinan, Jodi Hauptman. Text by Samantha Friedman, Flavia Frigeri, Markus Gross, Stephan Lohrengel, Nicholas Serota.
Published in conjunction with the most comprehensive exhibition ever devoted to the paper cut-outs Henri Matisse made from the early 1940s until his death in 1954, this paperback edition presents approximately 150 works in a groundbreaking reassessment of the artist's colorful and innovative final chapter. The result of new research by conservators and curators, the catalogue explores a host of technical and conceptual issues: the artist's methods and materials and the role and function of the works in his practice; their economy of means and exploitation of decorative strategies; their environmental aspects; and their double lives, first as contingent and mutable in the studio and ultimately made permanent, a transformation accomplished by mounting and framing. Richly illustrated to present the cut-outs in all of their vibrancy and luminosity, the book includes an introduction and a conservation essay that consider the cut-outs from new theoretical and technical perspectives, and five thematic essays, each focusing on a different moment in the development of the cut-out practice, that provide a chronicle of this radical medium's unfolding. Period photographs show the works in progress in Matisse's studio. One of modern art's towering figures, Henri Matisse (1869-1954) was a painter, draftsman, sculptor and printmaker before turning to paper cut-outs in the 1940s. From the clashing hues of his Fauvist works, made in the South of France in 1904-5, to the harmonies of his Nice interiors from the 1920s to this brilliant final chapter, Matisse's career followed a path that he described as "construction by means of color."
Jodi Hauptman is a Curator in the Department of Drawings & Prints at The Museum of Modern Art, New York.
Karl Buchberg is a Senior Conservator at The Museum of Modern Art, New York.
Samantha Friedman is an Assistant Curator in the Department of Drawings & Prints at MoMA.
Nicholas Cullinan is the Curator of Modern and Contemporary Art at the Metropolitan Museum of Art.
Published by Royal Academy Publications. Text by Marie-Thèrèse Pulvènis De Sèligny.
This is the most complete and beautiful study of the Chapel of the Rosary in Vence, near Nice in the South of France, considered one of the most important religious structures of the modern age and regarded by Henri Matisse himself as his great masterpiece. Matisse dedicated four years to the creation of this chapel, and the result is one of the most remarkable ensemble pieces of 20th-century art. Every element of the chapel bears the artist's touch, from the vivid Mediterranean hues of the stained-glass windows to the starkly powerful murals; even the vestments and altar were designed by Matisse. Using superb new photography that demonstrates the dramatic effect of changing light throughout the day, this book is the first to present the experience of being in this sacred space exactly as Matisse envisaged it. Marie- Therese Pulvenis de Seligny's authoritative text explores the extraordinary story of the chapel's creation and the challenges faced by the 77-year-old artist in realizing his great vision.
Praise for Matisse: The Chapel at Vence: Includes a wealth of sketches and models ... tells us much about Matisse's process. . . . The images sing with colour -Architectural Review November 2013 Marie-Therese Pulvenis de Seligny has been curator of the Musee Matisse since 1997, and has organized numerous exhibitions and written extensively on the artist.
Henri Matisse (1869-1954) is without doubt the most important twentieth-century French artist, and one of the great colorists of art history. His work utterly refutes the cliché that the great discoveries of Modernism were attained by a heroic and violent abandonment of the past: he was firmly grounded in tradition (albeit in a much less restless and ironic approach than Picasso's). In the 1920s, Matisse's odalisques responded to European fantasies of "Oriental splendor"; during the 1930s, more classical themes of nymphs, fauns and the dance were treated in the splendid and sober Barnes murals, illustrations to Mallarmé and James Joyce. Permanently confined to a wheelchair from 1941 (when cancer was diagnosed), he developed his most spiritually uplifting work for the interior design of the Dominican Chapel of the Rosary at Vence, concurrent with his famous paper cut-outs ("cutting directly into color"). Sarah Wilson of the Courtauld Institute provides an introduction to Poligrafa's primer on this Modernist giant.
Published by The Museum of Modern Art, New York. Text by Carolyn Lanchner
Henri Matisse, Pablo Picasso, Joan Miró and Andy Warhol each significantly shaped the development of art in the twentieth century. These Modern masters are the subjects of four small books, the first volumes in a series featuring important artists in the collection of The Museum of Modern Art. Each book presents a single artist and guides readers through a dozen of his most memorable achievements. Works are reproduced in color and accompanied by informative and accessible short essays that provide background on the artworks and on the artist himself, illuminating technique, style, subject matter and significance. Written by Carolyn Lanchner, former Curator of Painting and Sculpture at the Museum, these books are excellent resources for readers interested in the stories behind masterpieces of the Modern canon and for those who wish to understand the contributions of individual artists to the history of Modern art. This volume focuses on Matisse.
Published by Walther König, Köln. Text by Christophe Cherix, Mayte Julliard.
If painting was for Matisse the expression of a "state of condensed sensations," his engravings consisted of "Traits Essentiels" or "essential lines:" they were recordings of a single sensation, and rarely passed through any series of stages or reworkings. In fact, engraving was a refuge. Marguerite Duthuit-Matisse, co-author of a catalogue raisonné of her father's prints, describes the graphic work he often executed at the end of a painting session as an "agreeable conclusion." After several experiments with drypoint, Matisse turned toward woodcut in 1906 (and gave it up almost immediately), then worked simultaneously in monotype and etching, where he achieved an astonishing tension between surface and line. Later, he turned to linocut and to sugarlift aquatint. It is on these projects that the selection in Traits Essentiels focuses: Lithography, which Matisse practiced from 1906 to 1952, and with which he was less experimental, is excluded. Text in French only.
Published by Hatje Cantz. Edited by Pia Müller-Tamm. Essays by Gottfried Böhm, Stefan Grohé, Peter Kropmanns, Rémi Labrusse, Isabelle Monod-Fontaine, Maria Müller, Margret Stuffmann, Beate Süntgen and Katharina Sykora.
No other subject inspired Henri Matisse with such passion throughout his career as the female figure in interior settings. This is the most comprehensive publication to cover the topic of women in the work of the great regenerator of European painting, and in so doing, it covers the full spectrum of Matisse's creative evolution, from the small, somber, early pictures to the masterly compositions of his Fauvist phase, the intimate pictorial inventions of the Nice period, and finally the luminous paper cutouts of his late work. Many of the interiors show women reading, sleeping or daydreaming, passive figures enveloped in Oriental fabrics, costumed as odalisques or reclining on chaise longues. Additional motifs include the artist and his model, the artist's studio, the portrait, the still-life, and the view from a window. Figure Color Space offers an in-depth survey of this important subject in Matisse's work, through which he developed and continually explored his rich and imaginative repertoire of forms and colors. Along with paintings from all periods, it includes sculptures, drawings, cutouts and prints, as well as historical studio photographs by Cartier-Bresson, Brassaë, Hªl¿ne Adant and others. A richly illustrated biography completes this exquisite presentation.
Published by Royal Academy Publications. By Henri Matisse.
A lavishly illustrated exploration of the textile works of Henri Matisse, published to coincide with a major international exhibition, considers the artist's relationship with textiles throughout his career, documenting how the art form and its materials significantly impacted many of his key works.